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Cover illustration by 
Eugene Iverd (1893- 1936) 

Saturday Evening Post, August, 1 936 
Oil on Canvas. 

The painting used on the cover is an 

alternate version of the final image as 

shown in the Posftearsheet above. 


Editor / Publisher / Designer 




Gary Lovisi 

Dr. Donald Stoltz 

Roger T. Reed 

Illustration Logo designed by 

Gerard Huerta 

Contents © 2002 by Illustration Magazine and all of the 
respective auttiors. None of the material in this publication 
may be reproduced in any form without the written permis- 
sion of Illustration Magazine or the copyright holders. All 
of the images utilized herein are reproduced for historical 
and educational purposes only. While every effort has been 
made to provide factually accurate information, we cannot 
be responsible for misinformation that may crop up from 
time to time. Please let us know and we will make every 
effort to set the record straight from issue to issue. 

Illustration Magazine 

540 Wooddell Court, Kirkwood, MO, 631 22 
Tel: 314-822-1580 Fax: 314-822-2721 



APRIL 2002 

From the Editor 

Publishing a magazine is a bit like going out on stage and performing at an open-mic 
night. You never know what's going to happen, and you never know if you are going to 
end up with cheers, jeers. . . or getting tomatoes thrown in your face. For the most part. 
Illustration has been getting cheers and I've only had to duck a few tomatoes. 

I have many people to thank who have supported me from the first issue and who 
have believed in this magazine. To everyone who has written an article or contributed a 
transparency, subscribers and advertisers, you aU have my deepest thanks. Without your 
help, this magazine would not exist. We are all working to document the history of 
American illustration, and I hope that each issue will continue to break new ground and 
shed light on the great talents of the past. I hope that you will all continue to passionately 
support this project. 

There are a number of people to thank in particular for this issue: 

Gary Lovisi, for his article on Robert Maguire and the many hours of work required 
to compile so much information and scan so many book covers. I wish I had more 
pages to showcase all of Robert's spectacular career. Extra-special thanks to Bruce Kimmel 
for loaning me the "Dead, Man, Dead" transparency. Everyone remember to check out Gary's 
website ( and his fine magazine. Paperback Parade. 

Thanks to Dr. Donald Stoltz, Jean Ericson Sakumura and Lynda Farquhar for their 
in-depth article on Eugene Iverd, a fantastic and often over-looked illustrator of the 
Golden Age. The text of this article was originally prepared for an Iverd family 
reunion, and I am very happy to be able to publish this story here for the first time. 
Lynda assisted me tremendously in aquiring images for this article, and without her there 
wouldn't have been much to look at. Dennis Chapman and Stephanie Gaub of the Erie 
County Historical Society were also very helpful and allowed me to photograph original 
paintings from the museum's collection. Pete Cool was the photographer, and I thank him for 
working me into his schedule on such short notice and for doing a great job. 

Thanks to Roger Reed for his wonderful book review and for the great support that 
Illustration House has given this magazine since the very beginning. I can't thank you enough 
for that. 

And finally, thanks must go to William Backy for allowing me to photograph his Hayden 
Hayden painting for the "Lost and Found" section. If you're ever in Festus, Missouri, visit his 
restaurant "Petit Paree" and see the painting for yourself 

One of my contributors recently asked me what my "manifesto" was, and I suppose I 
should share this manifesto with you. My objective is to create a beautiful, scholarly and 
entertaining magazine about the history of American illustration. Each issue will profile 
artists from the slick magazines, pulps, automotive advertising, comics, animation... a mbc of 
classic masters and unsung heroes reflecting the entire field of commercial illustration. If you 
have enjoyed our progress so far, you are sure to like what we have planned for the future! 

If you have been thinking of advertising, please get in touch. Your ad dollars are serving to 
make this magazine bigger and better, and I need your support. I will be adding a classifieds 
and smaller display ad section to future issues, so it will be cheaper than ever to place ads in 
the magazine. Look for detaUs on my website, or ask me to send you the new rate card. 

And readers, please get in touch with my advertisers so they know you're out there, and 
support their efforts by buying something. They need to know that their ads are being seen, 
so let 'em know you saw it in Illustration! 

Many thanks again, and I hope you enjoy this latest issue! 

— Dan Zimmer, Editor 

Letters to the Editor 


Hi Dan, 

I had to write to tell you that the second 
issue of Illustration is wonderful. 

The first issue was fantastic, but issue 
number two is even better. I really enjoy 
reading about the illustrator's lives and 
careers. It brings one closer to the artist and 
his work. 

The level of reproduction in your maga- 
zine is the best. It's almost like a mini-art 
book of sorts. The paper stock used and 
page layout is just top quality. Being an 
illustrator myself for the past 25 years, your 
magazine is an inspiration to me — it gets 
my energy going to do some painting. It 
seems like illustration today has kind of 
gone out of fashion, with the use of so much 
computer generated stuff being done. 

All I really wanted to say is, thank you, for 
finally publishing a magazine like this one. 
I'll look forward to each issue with much 


Steve Boswick 

— Thank you for your comments! I hope you 
like this issue as much as the previous two. 


Dear Dan, 

Thank you for sending me the latest issue 
of your magazine. Dr. David Winiewicz's 
article on Frank Frazetta is an account of 
the man that I never saw or read before. 
Everyone loved Frazetta and it seemed that 
everyone copied him. And failed. 

You sound on top of everything. It's good 
to read, see and remember illustration as 
it has come down through the pages from 
Harvey Dunn on. Good luck continued- 

Harry Bennett 

— Thanks so much for your comments! I 
hope to he able to feature your work in an 
upcoming issue of this magazine. 


Dear Mr. Zimmer, 

I bought the first two issues of Illustra- 
tion Magazine off the newsstand here (a 
place called World Wide News) and have 
been meaning to get a subscription off to 

Your magazine is fabulous! I enjoyed 

everything, but in particular the Sundblom 
and Avati articles in issue #1 and the Saun- 
ders and Peterson articles in #2. These were 
really great profiles of four outstanding art- 

I also enjoyed the Russ Cochran 
interview — I've known Russ for close to 30 
years, but don't think we've ever met in 
person. The "Scenes from the Life of a Col- 
lector" was hilarious. I sold my collection(s) 
a few years ago, but I remember the collect- 
ing "disease" all too well. 

Enclosed is a check for $28.00 for a four 
issue subscription. I hope your magazine 
does well. I'd like to see it continue for a 
long time! 

Best Regards, 
Paul C. Allen 


Dear Mr. Zimmer, 

This letter is just a quick collection of 
words strung together to let you know that 
I have just received the second issue of your 
wonderful magazine and I am extremely 
gratified to have it. 

It would take me longer than the time 
that I have to accurately state how pleased 
I am that you and your colleagues have 
undertaken this exceptional effort. As a 
soon to be illustrator and a collector of 
books on and by illustrators, I have nothing 
but high praise for your contribution to this 
under appreciated world of art and litera- 

Please extend my warmest greetings and 
well wishes to your staff and I hope that 
your magazine will have a long and pros- 
perous life. I look forward to receiving the 
third, fourth, fiftieth and one-hundredth 
issues with baited breath. Thank you again 
for filling this void in the American art and 
publishing world. 

Sincerest regards, 
Mustafa Jackson 


Hello Illustration magazine, 

I just discovered your magazine. HELP! 

I've been an ardent fan of the art of illus- 
tration since the fifties. . . When I went to 
school to learn illustration and dropped out 
in the early sixties to become a technical 
illustrator (since the field of illustration was 
drying up, said I and others.) Actually, I was 

short of the mark and couldn't do the work 
and photograhy was replacing hand-painted 
art, but the field of illustration did not dry 
up and blow away! 

I'm sure that the Society of Illustrators 
did not go out of business and the publisher 
of the annuals of the year's best illustrations 
didn't disappear. . . all this to say that my 
interest in "illustration" is mainly in the 
creation of it and my editorial comment 
would be a desire to see larger reproduc- 
tions of the original art at the same size or 
even larger than the original size in order 
to study brushstrokes and other fine details 
that disappear in reductions. So HELP! 

Kindly let me know before they disappear 
from the magazine stands! 

Thank you, 
Jim Albrikes 

— 1 hate to say it, hut issue number one was 
a complete sell-out and I don't have any left. 
Until I decide to do a reprint, you may down- 
load a copy of the entire issue in PDF format 
from the archive section of the website. It's 
not the same as having the original printed 
magazine, hut it's the next best thing. I will 
postPDFs of each issue as they sell out. #2 will 
he up very soon! 


Dear Dan, 

Your magazine is beautiful, and I've 
secured myself a subscription. I must com- 
ment, however, on the tone of Dr. David 
Winiewicz's piece about Frank Frazetta's 
ink drawings. Winiewicz begins by calling 
Frazetta "the most remarkable draftsman 
who has ever lived," and actually proceeds 
upward from there to nose-bloodying 
heights of hyperbole. I could almost hear 
Winiewicz slobbering between sentences. 
"There is nothing like them in all of art his- 
tory"? Yowch! Winiewicz even calls the text 
on which a Tarzan illo is based "completely 
irrelevant." I doubt Edgar Rice Burroughs 
would agree... 

It's clear your writers are fans of the art- 
form, and that's great, but please tone down 
pieces like this. They belong in fan club 
newsletters, not in a prestigious publication 
like Illustration. 

Keep up the good work, 
Dave Chipps 

2 Illustration 

— Thank you for your subscription and your comments. I have given 
my writers a great deal of latitude in discussing the various artists pro- 
filed in the magazine, and occasionally the level of excitement reaches a 
fever pitch. It's easy to get carried away when you're passionate about a 
subject. I myself can become a slobbering maniac at the drop of a hat! 
I've received a number of comments regarding this, and I hope to "tone 
it down" a bit in the future. 


Hello Dan, 

This is GREAT! Finally a magazine that covers the greats and future 
greats of illustration. I'm extremely pleased with your product and 
can't wait to see the future issues. 

I noticed in your letters page that you may or hope to do another 
magazine on the current crop of illustrators. If this is so . . . then I'm 
there! I've been a freelance illustrator since the mid 1980's. 

I've always wanted a magazine that cover all genres of the illustra- 
tion field and I think this is it. Between Jim Vadeboncoeur's ImageS 
and your magazine there's REAL hope for great things. 

I'm in the for the long haul and look forward to EVERY single 
issue and any specials you may do. 

Thank you ever so much! Sincerely, 
George Colston 


Illustration #2 was absolutely incredible, Dan. The Norman Saun- 
ders stuff was phenomenal based upon the sheer volume of the 
material alone, ditto for that mind-reeling check list. But the Perry 
Peterson stuff blew me outta the water. QUITE inspiring. I really, 
really, really wish I had the nerve to paint something with a basic 
two or three color palette like him. Even if I just squeezed out three 
colors on my palette, I'd eventually reach for a forth and fifth and 
sixth color. Amazing issue. 

So will your print run be twice as big for issue 3? 

God love Illustration magazine and Dan Zimmer. :) 
Brian Clarke 


Thanks so much for the copy of Illustration! I expected to enjoy it, 
but I was entirely unprepared for what I saw — it's just great! I learned 
a lot and REALLY enjoyed the quality of the reproductions. 
I hope you enjoy a long and successful run; my hat's off to you! 

Tom Heintjes 
Hogan's Alley 


The contents page is hopelessly scrambled (don't ask.) 

The caption missing from p. 19 is: "Man's Story, December, 1965. Casein on 

board, 30x22 inches." 

The Crime Mysteries comic (p. 53) was published in 1953, not 1935. 

"Rusty Havelin" (p. 54) is spelled "Rusty Hevelin." Sorry Rusty! 

Walker A. Martin's email address is: 


'■ i 


www. keithtowleri (( 


Illustration 3 




and CaiMTtmd Murdi 

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Robert Maguire 

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You can not deny it. If you have ever seen a paperback cover 
painting by Robert Maguire, you know the man makes magic. His 
work comes through with passion and brilliance on every painting 
he has done in his 50 year career. 

Bob got his start in the paperbacks in 1949 and has continued 
primarily as a paperback illustrator. He also had a ten year stint 
illustrating greeting cards in the 70s. At present he is a successful 
fine artist. 

In a recent interview, Bob told me how 
he got started. "A well-known advertising 
illustrator Ernie Bowman introduced me to 
Frank Riley at the Art Students League. There 
was an entrance line a mile long of people 
trying to get into his class. But this friend got 
me right at the top of that Ust and I went 
right in, and I was off and running." 
Bob began his first work for Trojan 
Publications with cover art for their line 
of small "pocket" pulps with titles like 
Hollywood Detective Magazine (Oct. 1950), 
on which he painted his own face in the 
background (his first wife appears as the 
female model.) He did another cover for 
Focket Detective Magazine (Nov. 1950), this 
time a gorgeous woman holds back a kiUer 
with a gun. He did 3 of the 8 covers for 
this pocket-size pulp series. Bob worked for 
Trojan about a year and received $75 per 
cover painting. 

"They were all in the same vein, guys with huge pistols, with fire 
coming out of the end of them," Bob says with a smile remember- 
ing those early paintings. "It was a beautiful time, I was earning 
a living without doing a 9 to 5 job. The big deal then was to get 
into the magazines. At that time I didn't have aspirations to do 
fine art." 

From then on his career blossomed and he would go on to 
do over 600 paperback cover paintings through his five decade 
career. His classic period though, was the 50s and 60s. That work 
is revered today by collectors of vintage paperbacks and of fine 
original art. Bob would return to paperback illustration in the 80s 
and 90s with a more mature and classical style which still exhibited 

Robert Maguire at a cocktail party, 1960s. 

his trademark passion and beautiful women in finely crafted art. 
One reason for this popularity is the subject matter. To be sure. 
Bob painted what he was told to, according to prevailing norms 
of the times and what art directors wanted depicted on their 
book covers to make a sale to the book buyer, then predominately 
male. However, Maguire was so adept at female images that they 
have become some of the best and most memorable of that 

era. Maguire's women are special; they exude 
beauty and excitement, and also quite a bit 
of danger. Bob is a master of painting the 
female form and excelled in the image of 
the Noir femme fatale, a vintage paperback 
icon. His women were full of passion, but 
somehow down to earth and approachable — 
though sometimes at your own risk. Exciting 
and dangerous are two words that come to 
mind when thinking about Maguire's women 
painted during this period. 
Maguire's remarkable women appear on 
cover paintings such as Death Watch by John 
Dickson Carr (Berkley Book #G101), where 
we see a typical Maguire woman standing 
fearfully before a huge clock. Is time running 
out for her? In Pattern For Panic by Richard 
S. Prather (Berkley Book #362), we see one of 
his quintessential femme fatales, cold, aloof 
and deadly. Another favorite is the doll on 
Private Eyeful by Henry Kane (Pyramid Book 
#G-432). These are only three of the many 
classic Maguire women. We all have our own favorites. 

Another reason for his popularity is his fine craftsmanship as an 
illustrator. Everything in a Maguire painting fits, all aspects of the 
painting work, they come together to give us an image that has true 
impact. Images and situations are depicted with precision, accuracy 
and passion. You never forget a Maguire painting or one of his 
paperback covers. 

One of Bob's most successful cover devices is the effective use of 
shadows cast by such items as Venetian blinds, palm trees or prison 
bars. Good examples are shown with the use of bars on Morals 
Squad by Samuel Krasney (Ace Book #D-336), or the drapery used 
in Wild To Possess by Gil Brewer (Monarch #364). 

Illustration 5 

jea TiBfaima PjiE, 

Hollywood Detective, October 1950. 

Pocket Detective, November 1950. 

Berkley Book #G-1 01 

The fantastic image of a nude woman forming from the smoke 
of an opium pipe in Black Opium by Claude Farrere (Berkeley 
#G-120), is one of his most dramatic and memorable paintings. 
It is also an incredible erotic image and one of the greatest of all 
paperback covers. 

Effective use of shadows also increases the drama of the paper- 
back image. Such as the shadows made by menacing juvenile delin- 
quent punks in So Dead My Lovely by Day Keene (Pyramid Book 
#G-395), or the woman hiding in the shadows of a jaU cell on 
the cover oi Female Convrcf by Vincent G. Burns (Pyramid Book 

Both shadows and bars combine to create an intense cover 
depicting five reform school girls in Born Innocent by Creighton 
Brown Burnham (Pyramid Book #F-729). These images tell stories 
in and of themselves, separate from the books they illustrate. We 
want to know what led up to that moment in time depicted by 
the cover painting, and what will happen next. That is a key com- 
ponent in great art. 

Other examples abound. The close-up of 
a terrified woman's face superimposed over 
a dead male body works effectively for the 
crime novel, The Bleeding Scissors by Bruno 
Fischer (Signet Book #1256). A big red "X" 
covers the image of a woman on the painting 
for The Private Eye by Cleve F. Adams (Signet 
Book #1405). Talking to Bob about this one 
he said, "The title didn't ring a bell until 
you mentioned the big red 'X'. To me, that 
was a very successful painting". Then there's 
the stop sign used in the cover painting 
of Stopover For Murder by Floyd Mahannah 
(Signet Book #1268) another effective touch 
that adds menace on a crime cover when jux- 
taposed with a terrified woman. 
One of Bob's best and most effective femme 
fatale paintings has to be the one used for the 
cover of Stone Cold Blonde by Adam Knight 
(Signet Book #1322). Here we see a hard, 
beautiful, but very deadly dame with a gun - 

and you know she is going to use it. I think it's the ultimate femme 
fatale image and the ultimate 'girl with gun' paperback painting 
of the era. Bob says about this one, "This one was a Httle more 
sophisticated, the single girl by herself That's where I sort of got a 
reputation — if I had one at all — of being able to do a pretty girl, 
an attractive girl. That seemed to be the name of the game. Artists 
who can't do pretty woman just don't get by as well as guys like 
McGinnis and others. McGinnis' women are classier than mine. 
His have a lot more sophistication." 

One of Bob's favorite cover paintings is the one he did for 
Tomboy, a juvenile delinquent novel by Hal Ellson (Bantam Book 
#945). This was also his first mass-market paperback painting, 
done for Don Gelb at Bantam in 1951. "I read that book and 
enjoyed it. I had an idea what it was about and just tried to do a 
girl who wanted to be one of the gang. There was a clinch scene 
off to the side and she's looking on rather enviously, smoking - in 
those days everyone smoked. 1 was trying to imitate Avail's style." 
About Jim Avati, a living legend, and an 
artist who influenced all cover illustrators, 
Maguire reminisced, "...we (artists) honestly 
appreciated the way Avati painted and wished 
we could do as well. His work was also very 
popular with art directors. The main reason 
was, we admired Avail's work. Still do, for that 

Maguire was a master early on of gritty 
realism in the Avati style. It blossomed in 
some of his early Ballantine covers, in his 
historical cover paintings, and in cover art 
done for such books as Parole Chief hj David 
Dressier (Bantam Book #1092), where passion 
mixes with serious social issues of the day. 
When Ian Ballantine left Bantam Books to 
begin his own imprint, Ballantine Books in 
1952, Bob Maguire was one of the artists who 
did work for the new outfit. "Ballantine knew 
all the artists that worked for Bantam. He 
asked us to work for him. But Bantam prohib- 
ited us from working for Ballantine. Didn't 

Dell Book #D-362 

6 Illustration 

Dead, Man, Dead. 1961. Oil on board, 20 x 30 inches. Collection of Bruce Kimmell. 

Illustration 7 



Berkley Book #362 

Pyramid Book#G-432 

Ace Book #D-336 

Pyramid Book#G-395 

matter, we worked anyway." 

For Ballantine, Maguire did some of his most dramatic paint- 
ings, including two that became stunning wraparound covers for 
books by Hal Ellson: The Golden Spike (Ballantine Book #2) and 
Summer Street (#27). These deal with drug use, juvenile delin- 
quency and urban poverty themes and show that he was more 
than capable of doing fine art in the Avati style. It is rich, detailed 
and memorable. Bob also did cover paintings for Tides of Time by 
Emile Danoen (#6) and Concannon by Frank O'Rourke (#10). This 
last was unique because it was a dust jacketed paperback, the only 
Ballantine paperback to have one. Maguire did the art only for the 
dust jacket and it is a scarce item today. 

Bob did at least three more stunning wraparound covers this 
time for Graphic Books historical novels in the 1950s. These 
include Swords For Charlemagne by Mario Pei (#G-219); Rogue 
Royal by Donn O'Hara (#0-212) and The Golden Blade by John 
Clou (#G-209). This is incredible fine art that stands with the best 
of the Avati style. 

Perhaps one of his most erotic historical paintings was the one 
he did for Sodom And Gomorrah by Paul Ilton 
(Signet Book #1399). The cover blurbs says, 
"Passions and debauchery explode in history's 
most wicked city," and for once the blurbs 
were accurate. It also has one of Bob's sexiest 

Bob Maguire is a slender man of medium 
height, and though he admits to being in his 
80s, he appears and talks with the energy and 
good humor of a younger man. He's an out- 
going gentleman, full of great stories from the 
old days and with a down to earth sense of 
humor. He's been married to his second wife 
Jan for over 20 years. 

Some of Bob's favorite paperback illustra- 
tors are Jim Avati, Stanley Meltzoff, Barye 
Phillips, Mitchell Hooks, James Meese, Walter 
Popp and Charles Binger. Many of these are 
long-time friends as well. 
These days Bob paints for himself, and 
he paints what he likes, usually fine art 
landscapes and still-lifes, which he does for 
his own personal enjoyment. Many of these 
recent paintings are displayed upon the walls 

of his New Jersey home and they are quite striking. This work 
shows an entirely different aspect of this artist's enormous talent, 
as well as his evolution into a fine artist. Recently Bob has been 
having quite a bit of success with his fine art gallery work. Further 
magic that Bob Maguire weaves on canvas and brings to life for his 
many admirers to enjoy. 

Bob smiles and says, "I'm always trying to do a piece of figure 
work, semi-nude, that looks like it was done by Degas." 

Maguire's cover art resume reads like a Whos-Who of the paper- 
back publishing outfits of the vintage era. He did paintings for cov- 
ers on almost every major publishers product, including Ace, Lion, 
Avon, Bantam, Pyramid, Beacon, Ballantine, Berkley, Signet and 
Monarch. Many of these marvelous paintings have since become 
classic images that have magically transformed mere 25 cent old 
paperback books into gorgeous vintage era icons and coUectables. 
The original paintings — unfortunately Bob doesn't own any of 
these for they were kept by the publishers and dispersed over the 
years into private collections — have become prized fine art in and 
of themselves. 

One of Bob's hey-day periods was when 
he did cover paintings for Signet Books in 
the mid to late 1950s. "I didn't have much to 
do with Weybright," Bob recalls about Victor 
Weybright, one half of the Signet Books team. 
The other publisher was Kurt Enoch. "Kurt 
Enoch used to be around and I would see 
him. He was kind of severe, a little bit on the 
shy side. He didn't quite know how to relate 
to us artists. Of course we worked through 
John Lagakis, the art director there, and we 
dealt with Legakis very easily. Most of us were 
aware that Kurt Enoch made a lot of money 
with Mickey Spillane's books. He also went 
out and published a lot of classic pieces — he 
probably didn't make much money on them." 
At the time Signet's "Good Reading For The 
Millions" motto was a standard to which they 
seriously adhered and they published many 
fine literary novels. They also published the 
popular Mike Hammer private eye novels by 
Mickey Spillane and the 'steamy' Southern 
regional novels of Erskine Caldwell. These 
both made Signet a lot of money and kept 

Pyramid Book #G-549 


Berkley Book #G-120 

Illustration 9 


Signet Book #1256 

Signet Book #1268 

Bantam Book #945 

Bantam Book #1092 

them in business, allowing them to publish more 
literary works. Maguire never did a Spillane 
cover painting, though his dangerous femme 
fatale charmers would have been a natural for 
these books. One wonders what he would have 
done with, /, The Jury? Jim Avati did do some 
later cover paintings for Caldwell Signet reprints, 
and his covers are certainly responsible for some 
of the success of those books and their authors. 
Bob had a short stint early on doing 
cover paintings for Martin Goodman's outfit. 
Magazine Management. They published Lion 
Books in the 50s, one of the first publishers of 
Paperback Originals (PBOs), but they had not 
originally been book publishers, coming to it 
through their newsstand magazine business. 
Bob recalls, "I had a lot of covers that gave 
me little bits of agony, but mostly, it was the 
Magazine Management books. The Lion Books. 
They always wanted to have the girl's neckline 
lowered. If you know anatomy you know where 
the breasts are. You'd lower it and you'd be right 
at the danger point. Then they'd want it lowered 
more. So all you did was take the whole anatomy 
with the line of dress and move it down. The 
next thing you knew, you'd have the woman's 
bust line down around her ribs and they won- 
dered why it didn't look right. There was no 
dealing with some of those people, they were so 

Some good examples are the paintings Bob did 
for Tall, Dark and Dead by Kermit Jaediker (Lion 
#51, 1951) and Valerie by Jordan Park, a pseud- 
onym of CM. Kornbluth (Lion #176, 1954). In 
both cases gorgeous dames are practically falling 
out of their dresses in classic pulp good-girl art 
excess. However, closer examination will reveal 
the extent of improvement and evolution in 
Bob's work on these two very similar images 
done in 1951 and 1954. Today the images are 
nostalgic fim, the books are very collectable, 
while the original paintings are highly prized 
illustration artwork. 


.4 IM IB ^ — IW 

Bob works from pencil sketches initially. When 
the art director chose a sketch Bob would go 
home and hire the models and begin work, pho- 
tographing models and himself in various posi- 
tions, sometimes in costume and with props. 
From the pencil sketch and photographs of mod- 
els he would produce a small color rough (or 
"study" about the size of a paperback cover), 
to show color composition and used as a guide 
for his own use. Then he would begin work on 
the painting. The finished paintings were various 
sizes, but most were usually about 20 x 30 inches 
and scaled to paperback size. Bob's actual paint- 
ing time on most projects was about 4 days and 
he could do from 3 to 4 paintings a month. In 
the old days he wouldn't show the art director 
anything until he brought in the final painting. 
The unveiling must have been dramatic and 
breathtaking. "Then it was either, oh no, or they 
liked it," Bob laughs. "Most of the time they liked 

Collectors with a good eye may recognize 
some of the women in Maguire paintings from 
other paintings or book covers. It's no coinci- 
dence. Bob used the same models on many of 
his covers, the same women show up again and 
again. Sometimes with different hair color. Like 
old friends we recognize, or new ones we'd like 
to meet. 

Bob worked from photos of models for many 
of his paintings. He remembers using the model 
Lila Lynn for paintings that became covers for 
Pattern For Panic by Richard Prather (Berkley 
Book #362). Blonde model Ginny Gaylor was 
also often used, she'd appear sometimes as a red- 
head or a brunette. Hair color was of no con- 
sequence in painting and there were even paint- 
ings where Ginny appeared as the natural blonde 
she was. Gaylor was also the model used on the 
incredible painting for Black Opium. 
One of Bob's few science fiction paintings 
was the sexy web-fingered woman done for 
Superluminal by Vonda Mclntyre (Pocket Books, 

Monarch #365 


1 Illustration 

Illustration 1 1 

Graphic Book #G-208 

Berkley Book #G-240 

Monarch #133 

Graphic Book #G-209 

1984). Here he used a famous 
model known for doing soap 
commercials on TV who he 
transformed into a hauntingly 
beautiful alien woman. 
A local New Jersey girl 
offered the inspiration for 
the woman on the cover of 
The Bleeding Sissors by Bruno 
Fischer (Signet Book #1256). 
Bob also remembers another 
model he often used who went 
by the name of Chic James. 
She danced at the Copa and 
had a Mafia boy friend. After 
a while he never saw her 
again. But you can see her 
on the cover paintings for The 
Damned Lovely by Jack Webb 
(Signet Book #1233) and A 
Slice Of Hell by Mike Roscoe 
(Signet Book #1216). 
Bob's Berkley period ran 
from about 1956-1960, a long 
run of over 50 cover paintings, 
some of them outstanding. 
One from this period is the 
aforementioned painting for 
Black Opium, but there were 
many others. House of Fury 
by Felice Swados (#G-240) fea- 
tured another incredible wom- 
an-behind-bars cover 
painting, a gorgeous haunting 
image. For John Dickson 
Carr's The Eight Of Swords 
(#G-48) that same Maguire 
blonde shows up again — this 
time menaced by a man's hand 
holding a very long and very 
pointed sword. It's a great pulp 
image, an update of the old 
terror pulps made fresh again 

Signet Book #1399 

Lion Book #51 

on the cover of a classic crime novel. 

"The art director there at Berkley, Tom Dardis, who was more 
of an editor, was very easy to work with. He would just give me a 
book and say, go through it, try to pick out the action scenes and 
go ahead and do a cover. Sometimes he'd just let me go ahead and 
do it, I wouldn't even have to show him a sketch." 

Something Dardis said made an impression on Maguire when 
they met years later. Bob thanked him for all the work he had sent 
his way and Dardis remembering him said, "Oh, yes. Bob Maguire, 
you always did a credible job." This sort of deflated Bob at the time, 
but then Dardis added, "When I gave you a job I knew you were 
going to get it in on the day you said." Bob then realized that half of 
this business was being dependable. 

It's the melding of the creative side of the art business and the 
business side. Bob adds, "Very few artists have a good business 
outlook. Artists seem to be a fraternity, we compete with each other 
but it's a friendly competition, and almost always with guys help- 
ing each other. You know, they'll show you a painting, ask what's 
wrong, and you help them fix it. But the guy he's helping might do 
him out of a job next week." 

Bob didn't read most of the books he illustrated, he only read 
some of the so-called "important" books before beginning the 
illustrating process. "Most of the art directors would tell you they 
wanted a pretty girl with a gun. Sometimes they would give me 
a fact sheet which gave me a vague idea of what they wanted. It 
was really up to the artist in many cases, because an editor in his 
sterile office couldn't possibly conceive what an artist could come 
up with. The outline might tell us hair color, what kind of girl, 
what kind of guy, what sort of situation. Sometimes the girl is in 
danger, or sometimes as you see, the girl is the one with the gun." 

Bob's Monarch period was from about 1958-1964. This pub- 
lisher was probably the last gasp of the old-time vintage era paper- 
backers. He did over 50 Monarch covers as well, many recognized 
as classics today. 

"Monarch Books seemed to be a two man operation. They were 
writing books, as they were discussing others, talking into a micro- 
phone. Charlie Hecklemann was the guy who ran it. He was a very 
good man but it was sort of annoying, because illustrators thought 
these books came from serious thinkers. Here's this man writing 
them off the top of his head into a tape recorder. I never read their 
books. They would take subject matter which was considered a 
little bit socially risque, but something which had a legitimate place 
to be discussed and they would believe they were doing a serious 

1 2 Illustration 




Lion Book #176 

Pocket Book #53136 

Signete Book #1233 

Berkley Book #G-48 

book on that subject." 

Or perhaps, the reader would believe so. In fact, Hecklemann 
and his "staff" would write or dictate a short synopsis for each 
book and then farm it out to the Scott Meredith Agency or other 
writers such as prolific scribes of the era like Robert Silverberg who 
would write the book, often under pseudonym. 

Nevertheless, some of Maguire's last great vintage paintings 
grace the covers of many Monarch books. Examples are GU 
Brewer's Wild To Possess, where an alluring nude red-head with a 
gun uses drapery to superb effect; or Season For Love by Whitman 
Chambers (Monarch #122) another nude, this time strategically 

dressing herself to show the most amount of flesh acceptable at the 
time. On the cover of The Flesh Peddlers by Frank Boyd (Monarch 
#133), Maguire gives us the quintessential beauty and hardness of 
the Manhattan call girl, cold, calculating, desireable. While on The 
Sins Of Billy Serene by William Ard (Monarch #152) we see the 
typical B-girl of the era plying her trade to a young hood. 

By the late 60s Bob had changed his stylish and very distinctive 
3-bar signature "Illaguire" to the more simple "R.a. Maguire". It 
is also during this period that about 17 soft-core adult books 
appeared with Maguire cover art. Bob denies these books, he does 
not recognize the titles. It appears these books were reuses of earli- 



BUY - SELL - TRADE CALL LEO BRERETON 530-432-5831 9.. - 9. psu days 10162 DONNA WAY, PENN VALLEY, CA 95946 

Illustration 1 3 

Unknown title, 1992. Oil on board, 20 x 30 inches. 

Treasure of the Sun, Harper Bool< #04062. 1991. Oil on board, 20 x 30 inclies. 

er cover art (specifically Midwood covers) reprinted 
without his knowledge, permission, or payment. 
After about 20 years of churning out one incred- 
ible paperback cover painting after another Bob 
Maguire left the field for nine years to do greeting 
card illustration. 

"The paperback business seemed to slow down 
around 1969, it was very bad, a difficult time getting 
work. It's the only time that I knew it to be that 
bad. An artist friend of mine, John Leone, dropped 
out of sight. I called him up one day and said John, 
what happened to you? Where are you? He was 
a little reticent, then he told me to come up to 
Norcross and he'd introduce me. So I went up there 
and they hired me right away. It was so beautiful, 
the work was so easy to do. And the work was so 
interesting. I did two or more illustrations for them 
a week for ten years. When I finished working at 
Norcross I felt I could do anything. I learned a lot 
about painting and designing there." 
At Norcross, Bob's paintings were done in opaque 
water paints in the actual size of the card. These 
tiny paintings included cards for all occasions. They 
were all done without his signature. Some of his best 
paintings were done of traditional Christmas scenes 
or charmingly humorous images of Santa Claus. 
When Norcross moved to Pennsylvania Bob left 
and soon was back doing paperback cover paintings 
full time. The market had changed, the business 
had evolved, but editors and art directors still need- 
ed quality illustration work. This time, Bob's friend 
and veteran paperback artist Walter Popp was 

1 4 Illustration 

Harper Book #08034 

doing romance paintings for Signet Books (New 
American Library) as were other artists from that 
era. Maguire followed the lead of Popp, as well as 
veteran paperback illustrators Mitchell Hooks, and 
Robert McGinnis in doing new paintings for current 
romance paperbacks. 

It's interesting to note that the very same illustra- 
tors who had done so much of the male-oriented 
scenes showing sexy women with low-cut blouses on 
the covers of the books of the 50s and 60s, now were 
doing the sexy romance covers of the 80s and 90s. 
"Heated-embrace" covers, now with women covered 
and the man often in torn shirt, or passionate scenes 
of an attractive couple in a rustic or historical set- 
ting, were the norm painted by these greats. Now the 
orientation was to the female book buyer, a power- 
ful market force which brought romance paperbacks 
into prominence. Bob's work had come full circle. 
Maguire did over 100 covers for Pocket Books 
in the 70s, including many Gothic Romances. He 
did traditional Romance covers for Silhouette Books 
during the 80s. In the 90s he was back doing histori- 
cal Romance covers for Gene Mydlowski at Harper 
Books, among many publishers. Two examples of 
his Harper Romance books are Priceless (1993) and 
Outrageous (1994) by Christina Dodd. 
One of his most unique book covers was for 
Castles in the Air by Christina Dodd in 1993. It fea- 
tures his famous "3-armed lady" error. Bob admits 
that he got carried away with the painting, "painting 
loosely" as he terms it. He noticed a bit of drapery 
on the woman's dress that looked like an arm and he 

Color sketch for Priceless. 
Acrylic on board, 5x8 inches. 

Priceless, Harper Book #04153. 1991. Oil on board, 20 x 30 inches. 

Illustration 15 

Above: "Bridge Over Tiber" built in 46 BC, Rome, Italy. 
Left: "Hanging House of Cunca" Spain. 

fleshed it out with a hand — not reahzing that he had inadvertently drawn 
the woman a third arm. Bob, nor Harper noticed the error and the book 
was published. Once the error was discovered the book was recalled and 
copies were destroyed. It was later reprinted with new cover art not by 
Bob, but not before the error edition became a scarce collectable. A bit 
embarrassing at the time, Bob's good humor lets him laugh it off today. 
After all, with over 600 fine cover paintings under his belt, one mistake in 
fifty years is a pretty good run. 

Another favorite painting is the one he did for the historical romance 
The Lily and The Leopard by Susan Wiggs (Harper Books, 1993). It hangs 
on the wall of his home. Bob says, "There's a funny story about this 
painting. My agent told me one of the women editors came in to see it 
when this painting was on display. She looked at it and she cried, she was 
so moved. I guess she didn't cry at the other times for other paintings, 
but this one brought tears to her eyes. That's the kind of compliment I 
like to get." • 

— © 2002 by Gary Lovisi 

Gary Lovisi is the editor of Paperback Parade magazine, the leading publication about collect- 
able paperbacl<s and the publisher of Gryphon Books. He has been writing about, and collecting 
paperbacks, for 30 years. Lovisi's latest book is The Sexy Digests, a survey, index and price 
guide to the sexy exploitation digest-size paperbacks of the 1950s. You can reach him at his 
web site: 

1 6 Illustration 

Robert Maguire P^^iet^adCLMM 

Harper Books #08034 

Signet Books #1294 

Lion Books #186 

This list was compiled thanks to information supplied by 
Bruce Brenner, Roy James, Bob IVIaguire, and from my 
own collection. It is alphabetical by publisher. It does not 
list every Maguire paperback cover but lists over 600 of 
his paperbacks. Maguire's 60s soft-core titles are listed 
at the end of this list. This list does not include foreign 
paperback editions with plagarized IVIaguire covert art. 
Additions and corrections to this list are most welcome. 








Ace Books: (1954-1970) 

D-55 The Tobacco Auction Murders by Robert Turner, 1954 

You'll Die Next by Harry Whittington, 1 954 

Luisita by Rae Loomis, (reprinted as #D-396) 

Muscie Boy by Bud Clifton 

Morals Squad by Samuel Krasney 

Negative of A Nude by Charles Fritch, with 

Till Deatti Do Us Part by Louis Trimble 
D-387 Fare Prey by Laine Fisher, with 

Bil<ini Bombshell by Bob McKnight 

Luisita by Rae Loomis, 1954, (reprints #S-70) 

Swamp Sanctuary by Bob McKnight 

A Slice of Death by Bob McKnight, with 

Open Season by Bernard Thielen 

If Hate Could Kiiiby Jack Bradley 1960 

Run if You Can by Owen Dudley with 

The Devil's Punchbowl by Duane Decker 
D-447 The Hot Chariot by J.M. Flynn, with 

Kiss The Babe Goodbye by Bob McKnight 
D-459 The Hot Diary by Howard Olmstead, with 

Ring Around The Rogue by J.M. Flynn, 1960 
D-463 A Body in The Bed by Stewart Sterling, with 

Dying Room Only by Stewart Sterling 

A Night For Screaming by Harry Whittington 

If Wishes Were Hearses by J. Harvey Bond, 1960 

Somebody's Wai!<ing Over My Grave by Robert Arthur, with 

Dally With A Dead Doll by John Miles 

The Queen's Awards by Ellery Queen, ed. 

Night Drop by Frederick C. Davis, 1961 

Arena by Jay Scotland, 1963 

Traitor's Legion by Jay Scotland 

Cruise Nurse by Joan Sargent, 1 961 

Calling Nurse Linda by PattI Stone, 1961 

Arena by Jay Scotland, rephnts #G-520 

Dangerous Enchantment by Marie Garrett 

The Family At Tammerton by Marg Ersklne 

Harlequin House by Leal Hayes 

The Pavilion Of Moni<shoad by f^ms Uaybury, 1965 

The Room Upstairs by Monica Dickens 

Sleep No More by Marg Ersklne 

The Shows of Yesterday by Betty DeForrest 

Waii< into My Parlour by Bona Randall, 

The Dark Beyond Moura by Virginia Coffman, 1 968 

Vampire Of Moura by Virginia Coffman, 1 970 

Moura by Virginia Coffman 

The Beckoning From Moura by Virginia Coffman 

The Devil Beyond Moura by Virginia Coffman 



Airmont Books: 

R3 Mine To Cherish by Ann Rush 
R4 Shores Of Home by Mary Donner 

Avon Books: 1954-1963, 1975-77, 1988 

790 My Business is Murder by Henry Kane, 1 954 

T-89 Merry Mis&ess by Philip Lindsay, 1954 

T-224 Passiontide by Wirt Williams, 1 957 

T-270 Run For Your Life by Sterling Noel, 1 958 

T-287 The Death Dealers by Isaac Asimov, 1 958 

T-290 Prelude To Murder by Sterling Noel, 1 959 

F-156 Five Faces To Murderby Jay Flynn, 1962 

F-1 72 New England Nurse by Adelaide Humphries 

F-175 Pr/son torse by William Neubauer, 1963 

F-183 A Career For Lynn by U'ma Putnam 

G-1213 Reformatory Girls by Ray Morrison, 1961 

19414 ^aura by Vera Caspary 

19257 Craup Poffra/f IV/W iarfy by Helnrlch Boll, 1974 

19455 Flower Of Silence by Joame Marshall, 1975 

31252 The Changing Of The Guardby John Ehle, 1976 


Where The Lost Aprils Are by Elisabeth Ogllvie, 1976 



Country Of The Pointed Firs by Sarah Jewett, 1 977 



Passion 's Gold by Susan Sackett, 1 987 



Dark Desires by Nancy Moulton, 1988 



innocent Fire by Brenda Joyce, 1 988 



Heart's Folly byJane Feather, 1988 



Passion's Fire by Mallory Burgess, 1988 


Award Books: 



A Bullet For «e/ by Nick Carter, 1 965 


BallantineBooks:1 953-1 955 



Golden Spike by Hal Ellson 



Tides Of Time by Emile Danoen 



Concannon by Frank O'Rourke (dust jacket only) 



Summer Street by Hal Ellson, 1953 


Earthly Creatures by Charles Jackson , 1 953 



A Life For A Life by Horst Fayner, 1 954 



Young by Miriam Golwell, 1 955 



A Woman Of Bangkok by Jack Reynolds 



The Age of Elegance by Helen Archery, 1992 (Fawcett) 


Bantam Books: 1950-1953 



Tomboy by Hal Ellson, 1951; also UK Corgi edition 



Terror In The Streets by Howard Whitman, 1951 



Far From Home by Raymond Mason 



Rifleman Dodd by C.S. Forester 



Theresa by EmIle Zola 



Oesert Oftore by Francois Murlac, 1952 



Pagoda by James Atlee Philips, 1953 



NIghtrunners Of Bengal by John Masters, 1952 



SIngle-Handed by C.S. Forester, 1954 



Parole Chief by David Dressier, 1 953 


Belmont Books: 1960-1963, 1973 



Concha by Philippe Sellers, 1 960 



The Borgia Blade by Gardner Fox, 1961 




Creeps By Night by Dashlell Hammett, 1961 


■ J 

m^'I 1 llr^afc 1 


i i 

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■iJft ^V ^^B. I 






^ *'''LJ 



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Avon #T-270 

234 Love Doctor by Florence Stonebraker 

237 Stronger Than Fear by Richard Tregaskis, 1 961 

90-262 Arena Of Love by Helene Eliat, 1962 

90-263 Doctors And Nurses by Virginia l\/IcConnell 

90-266 Triple Cross by John Roeburt 1962 

90-268 By-Line, Mona Knox by John Turner 

90-275 Horror 7 by Robert Bloch, 1 963 

90-270 Young DrElliotby Florence Stonebraker, 1962 

90-281 The Case Of The Radioactive Redhead by G.G. Fickling, 1 963 

90-286 The F\/lachlne In Ward Eleven by Charles Willeford, 1 963 

L92-532Zo/)e Of Violence by Donald Dunham, 1 962 

l92-5GASixAnd The Silent Scream by Ivan Howard, 1963 

BT5061 1 Death To The l\/lafia by Frank Scarpetta, 1 973 

Books: 1960-1964 

Song Of The Whip by Barry Devlin 

Sexurhia Country by Orrie Hitt 

Twilight Girl by Delia Martin 

A Woman Possessed by Whit Harrison 

Girl In A Cage by Carlton Gibbs 

Bachelor Girl by Frances Loren, 1 963 

The Twisted Path by J. Malcolm Maxwell, 1 963 

A Bunch Of Women by Kevin North 

Hot Kiss Of Youth by Arthur Adion, 1 963 

Affairs Of Laura by George Savage 

Mal<e Sure I Win by Barry Devlin 

Sex habits Of Single Women by Lillian Preston, 1 964 

Sex Around The Clocl< by Alex Carter, 1 964 

Doctor's Women by Phillip Sorrell, 1964 

Books: 1956-1960 

Pattern For Panic by Richard Prather, 1 956 

Daughters Of Eve, antholgy 

The Captain's Doll by D.H. Lawrence 

Aphrodite by Pierre Louys 

The Eight Of Swords by John Dickson Carr 

The Body Of Love by Charles Keats 

The Virgin And The Gypsy by D.H. Lawrence 

The Woman Who Rode Away by D.H. Lawrence 

The Case Of The Constant Suicides by John Dickson Carr, 1 957 

Time f\/!ust Have A Stop by Aldous Huxley 

This Is !\/!y Body, anthology 

Poison In Jest by John Dickson Carr 

Salambo by Gustavo Flaubert 

Olivia by Olivia, (reprinted as #G-175) 

Chastity Of Gloria Bond by Donald H. Clark 

Four False Weapons by John Dickson Carr 

Nude Croguet, anthology, (reprinted as #02034) 

Death Watch by John Dickson Carr 

The Strange Path by Gale Wilheim 

Black Opium by Claude Farrere, (reprinted as #Y-572) 

So It Doesn't Whistle by Robert R Smith 

Hag's Nook by John Dickson Carr 

The 31" Of February by Julian Symons 

Corpse In The Waxworks by John Dickson Carr 

Ah King by W. Somerset Maugham 

Last Ofll/lr. Morris by Christopher Isherwood 

Laughter In The Dark by Vladimir Nabokov 

The Pub Crawler by Maurice Proctor 

Devil's Holiday by Fred Malloy 

Olivia by Olivia, (reprints #74) 

No Bed Of Her Own by Cicely Schiller 

Kill !Vle In Tokyo by Earl Norman 

Early To Rise by Arnold Grisman 

Love Around The World, anthology 

Robert with wife Jan at a NY Paperback show, 1991. 

Illustration 1 7 

Robert Maguire P,^iet^^(Xec4/M 

BG-213 First Person Singularby W. Somerset Maugham 

G-21 4 The Bowstring Murders by Carter Dickson, 1 959 

G-225 Wliat D'ya Know For Sure by Len Zinberg 

BG-231 Dateline: Paris by Reynolds Packer 

G-240 House Of Fury by Felice Swfados 

G-258 Wai<e Up To Murder by Day Keene, 1 959 

G-268 Cosmopolitans hy^. Somerset Maugham, 1958 

G-285 Blue Ribbon Romance by Jane Mcllvaine 

G-300 Mystery Of Tfie Stolen Plans by Manning Coles 

Y-572 B/ac* Opium by Claude Farrere, (reprints #G-12a) 

D2001 Cruel Is The Night by Howard Hunt 

D2005 Descent into D8ri<ness by Fritz Peters 

D201 Kill Me in Shimbaski by Earl Norman 

D201 2 Messalina by Vivian Crockett 

D2034 Nude Croguet anthology, (reprints #G-97) 

D2035 Three For The Money by Barry Lake 

D2037 You'll Get Yours by William Ard, 1960 

F1 085 You'll Get Yours by William Ard 

02563 The Biackbirder by Lionel Webb, 1 974 

02773 Go Naked To Eden by Marjorie Craft, 1 975 

Canlinal Books: 1960-1963 

GC80 An End To Fury by Edward Mannix, 1 960 

C440 Code Of The West by Zane Grey, 1 963 

Crest Books; 

C26B4 Grandmother And The Priests by Taylor Caldwell 

Curtis Books: 

01 070 The Mockingbird is Singing by Emma Louise Mally, 1 972 

Bell Books: 1955-1962 

824 The Company She Keeps by Mary McCarthy, (reprinted as 


898 Gulf Coast Girl by Charles Williams, 1 955 

977 Vertigo by Pierre Boileau, 1 958 

B-56 Too Near The Sun by Gordon Forbes (1 st Ed) 

58 After innocence b'^ Ian Gordon, 1955 (1st Ed) 

85 April Eve by John D. MacDonald, 1 956 (1 st Ed) 

B-158 Man Saffby Jack Liston, 1960 

B-151 Sylvia by Edgar Mittleholzer, 1955 

B-184 The Company She Keeps by Mary McCarthy (reprints #824) 

B-29B The Color Of Murder by Julian Symons, 1959 

B-346 One Minute Past Eight by George Harmon Coxe 

B-351 Murder Off The Record by John Bingham 

B-362 Dead, Man, Dead by David Alexander, 1 962 

B-368 Strange Bondage by Donald Stewart, 1 960 

B-375 The Obituary Club by Hugh Pentacost, 1 960 

B-394 Suspicious Circumstances by Patrick Quentin 

F-90 Harrison High by John Farris, 1 959; (reprinted as #3448). 

31 96 The Girl With The Key by Mary Kay Simmons, 1 974 

3448 Harrison High by John Farrie, (reprints #F-90) 

3764 The House Of the Golden Dogs by Louise Bergstrom, 1 974 

4568 The House Of The Sphinx by Louise Bergstrom, 1 975 

Four Walls, Eight Windows/No Exit Press: 

The Machine In Ward Eleven by Charles Willford, 2001 , (reprints book 
and cover art from Belmont Book #90-286) 

Gallon Books: 1981-1982 

43934 Bridge To Tomorrow by Leila Lyons, 1 982 
44688 The Endearment by Lavyrle Spencer, 1 982 
43923 Desire's Legacyby Elizabeth Bright 1981 
44702 Morning's In Heaven by Kris Karron, 1 981 

Gold Medal Books: 1955 

461 Glitter And The Greed by Robert Taylor 
51 2 Ride The Dark Storm byNardJones,1955 
517 Journey /nto Deaf/? by Jack Jones 

Gold Star Books: 1964 

IL7-1 2 Lover by Hank Janson 

IL7-1 3 Brazen Seductress by Hank Janson 

IL7-16 Hell's Angels by Hank Janson 

IL7-18 Passionate Playmates by Hank Janson 

IL7-19 Dementedby Donald Young, 1964 

IL7-32 Expectant Nymph by Hank Janson 

Graphic Books: 1 956-1 957 

1 26 Murder's End by Robert Kelston, 1 956 

G208 Swords For Charlemange by Mario Pel, 1 957 

G209 The Golden Blade by John Clou, 1957; (reprinted as #G-220) 

G21 2 Rogue Royal by Donn O'Hara, 1 956 

G220 The Golden Blade by John Clou, (reprints #G-209) 

Harper Books: 1991-1996 

04062 Treasure of The Sun by Christina Dodd. 1 991 

77961 Comanche Heart by Catherine Anderson, 1 991 

04026 Candle In The Windowby Christina Dodd, 1991 

001 91 The Moon Flower by Phyllis A. Whitney, 1 991 

00192 Skye Cameron by Phyllis A. Whitney, 1991 
0021 5 Thunder Heights by Phyllis A. Whitney, 1 991 
00270 Window On The Sguare by Phyllis A. Whitney, 1 991 
00205 Blue Fire by Phyllis A. Whitney, 1 991 

00152 r/ieOufcte/ter Poo/ by Phyllis A. Whitney, 1991 

00264 Black Amber by Phyllis A. Whitney, 1 991 

04817 7/7e /.//y and r/je/.eopard by Susan Wiggs, 1991 

10474 7/7e /?aven/4/)t/7/7e/?ose by Susan Wiggs, 1991 

04153 Priceless by Christina Dodd, 1992 

10258 Dea Jade by Phillys A. Whitney, 1992 

08034 Castles in the Air by Christina Dodd, 1 993, "3-armed woman" 

08052 Lord of The Night by Susan Wiggs,1993 

08051 The Mist And The Magic by Susan Wiggs, 1 993 

? Embrace The Day bySusanWiggs,1993 

08097 Jacaranda Bend by Charlotte Douglas, 1 993 

08036 Sunburst by Suzanne Ellison, 1 993 

08086 IMien Destiny Calls by Suzanne Elizabeth, 1 993 

08105 Fan The Flame by Suzanne Elizabeth, 1 993 
08151 Outrageous by Christine Dodd, 1994 
08109 Unguiet Hearts by Kathy Lynn Emerson, 1994 

08106 /C//ey'sS/om/ By Suzanne Elizabeth, 1994 
08201 Sunflower Sky by Samantha Harte, 1 994 
08169 W/ow Cfee/( by Carolyn Lampman, 1994 
08235 Comanche Moon by Catherine Anderson, 1 995 
08347 Lady In Blue by Lynn Kerstan, 1 995 

08449 Almost A Ladyby BarbaraAnkrum, 1996 

Hillman Books: 1957 

100 The WItnessby Georges Simenon, 1957 

111 Morocco Episode by William Brothers 

Jove Books: 

10473 Lone Star And The Cheyenne Showdown by Wesley Ellis, 1990 

Lion Books: 1951-1957 

51 Tall, Dark, And Dead by Kermit Jaediker, 1 951 

152 ;4 /?ape>4/ Sea by Frederick Lorenz 

1 76 Valerie by Jordan Park, 1 953 

179 Conjure Wife by Fritz Lieber, 1953 

181 The Ox-Bow Kid by C. William Harrison 

186 The Blonde On The Street Cornerby David Goodis 

LL3 The Sky Block by Steve Frazee 

LL37 Fruit of Desire by Willa Gibbs, 1 955 

LL53 Creaf Tales Of City Dwellers by Alex Austin, 1 956 

LL55 Cora Po/(s by Ward Greene, 1955 

LL71 Cage Me A Peacock by Noel Langley, 1 956 

LL84 To Keep Or /</// by Wilson Tucker, 1 956 

LB1 24 Recoil by Jim Thompson, 1 956 

LL158 r/ieS/ff/Wa/re by Gene Paul, 1957 

LL167 This is It! by Noah Sarlat, ed., 1957 

LL172 Slaughter Street by Louis Falstein, 1957 

MacFadden Books: 1961-1965 

35-102 Country Nurse by Peggy Dern, 1 961 

35-107 Nora Was A Nurse by Peggy Gaddis, 1962 

35-121 Lesta Foreman, R.N. by Peggy Gaddis 

40-109 Nurse In The Tropics by Peggy Dern, 1963 

40-1 1 3 Nurse Genie Hayes by Peggy Gaddis 

40-116 P/s/o/ /.aiv by Paul Lehman 

40-1 1 7 Big City Nurse by Peggy Gaddis, (reprinted as #50-346) 

40-126 Soc/e/y /Vorse by Jean Carew 

40-1 27 Wiidhorse Range by Allan K. Echols 

40-156 Wes/Po/nfA/urse by Virginia McDonnell, 1965 

60-282 Shanty Boat Girl by Kirk Westley 

50-310 Two-Gun Ouffaw by Burt Arthur 

50-324 Office Nurse by Rebecca Marsh 

50-336 Doctor Sara by Peggy Gaddis 

50-346 Big City Nurse by Peggy Gaddis (reprints #40-117) 

50-370 Love Doctor by Florence Stonebraker 

50-383 The Courtship Of Nurse Henie Hayes by Peggy Gaddis 

50-41 2 Emergency Nurse by Peggy Gaddis 

50-493 Luxury Nurse by Peggy Gaddis 

Major Books; 1976 

12412 Night Falls At Bitterhill by Paulette Warren, 1 976 

12413 Mass For A Dead Witch by Alicia Grace. 1976 

MIdwood Books: 1961-1963 

31 The Wife Next Door by Alan Marshall 

86 The Fires Within by Loren Beauchamp 

100 /I /Veed /ijr /.oi/e by Dallas Mayo 

112 /Ifi/r/iftenjafbyJohnPlunkett 
122 /yooseOfS/nby Dallas Mayo, 1961 
124 Motel Mistress by Rick Richards, 1961 
F130 /Vorma by George Glennon, 1 961 
F132 Stag Strlpperby Mike Avallone, 1962 
F139 /n 7/)e S/iadOH/s by Joan Ellis 

F140 /loffosf/yeafby Roger Allen, 1962 

Y158 Scanda/by Dallas Mayo 

F162 Perfume and Pain by Kimberiy Kemp, 1962 

Y186 TV Tramps by Walter Dyer 

F188 ri*/ce With Julie by Jason Hytes, 1 962 

F206 Campus Sex Club by Loren Beauchamp, 1 962 

F21 5 Counter S/ri by Amy Harris, 1 962 

F222 Degraded Women by James Harey, 1 962 

F238 The Hot Canary by Joan Ellis 

F242 Don 't Bet On Blondes by Walter Dyer 

F255 Again And Again by March Hastings, 1 963 

Monarch Books; 1958-1963 

1 07 Wild To Possess by Gil Brewer, (reprinted as #346) 

110 7ouc/i/We/Vo/by Brian Harwin, 1959 

1 21 Kiss Me Quick by Karl Kramer, (reprinted as #433) 

124 /I// / Can 6e( by William Ard 

1 25 Nikki by Stuart Friedman, 1 959 
133 T/ie F/es/i Pedd/ers by Frank Boyd 
1 36 Not For A Curse by Karl Kramer 

1 38 Stephana by Joseph Foster 

146 Tamiko by Ronald Kirkbridge, 1960 

148 7/)/s Car/c Ces/re by John Conway 

1 52 The Sins Of Billy Serene by William Ard, 1 960 

155 The Practice of Passion by W. Peter Denzer, 1960 

1 59 The Deadly September by Kad Kramer 

1 65 Young And Innocent by Edwin West, 1 960, (reprinted as #41 0) 

1 69 The Family Nobody Wanted by Helen Doss 

181 The Trouble With Ava by Stuart Friedman, 1 958 

183 $50A Nightby Don James, 1961 

186 The Klaxton Girls by Tom Rowland 

201 The Fly Girls by Stuart Friedman, 1 961 

208 Doctors Choice by Susan Lennox 

21 9 Make Every Kiss Count by Ronald Simpson 

220 The Transistor Girls by Paul Daniels 

224 Ladies Of The Dark by Alexander Bolton, 1 961 

235 Summer Cruise by Frances Dean Hancock, 1 962 

241 Rasputin: The Mad Monk by Stuart Friedman, 1 962 

277 Dixie Doctor by Marcia Ford, 1 962 

284 Girls On The Wing by William Johnston 

296 The Gates Of Brass by RJ. Kelly, 1 963 

MA300 King Of The Harem Heaven by Anthony Sterling 

MA301 She Wouldn't Surrender by James Kendricks, 1 960 

MA325 King Of The Free Lovers by Anson Hunter, 1 962 

346 Love Under Capricorn by Rick Holmes 

364 Wild To Possess by Gil Brewer, (reprints #1 07) 

381 / Prefer Girls by Jessie Dumont, 1 963 

390 The Hamelin Plague by A. Bertram Chandler 

400 Surgical Nurse by Florence Palmer 

408 Mary Adams, Student Nurse by k\\CQ Brennan 

410 Young And Innocent by Edwin West, 1064, (reprints #165) 

433 Kiss Me Quick by Karl Kramer, (reprints #121) 

500 The Practice Of Passion by Peter Denzer 

MB501 Women In Trouble by Edward McGoldrick, 1 959 

MB503 Tormented Women by Edward McGoldrick, 1959 

MB505 Crime And Passion by Dr E.B. Mozes, 1960 

MB506 Pov^er Of Marital Love by Don James 

MB507 Sex And The Armed Services by L.T Woodward 

MB 510 Bedeviled by Wenzel Brown 

MB511 Sex f/end by L.T Woodward 

MB 512 Folk And Modern Medicines by Don James 

MB 517 Teen Age Brides by Henry Galus 

MB518 Sexual Surrender In Womenby Benjamin Morse 

MB519 The Divorcee by Ralph O'Hara, 1962 

MB521 Se;r In Our Schools by L.T Woodward 

MB524 Unwed Mothers by Henry Galus 

MB544 Sex Fiend by L.T Woodward, reprints #MB51 1 

MM602 The Brides OfDracula by Dean Owen, 1960 

K53 7/)e,4n(;ryr/njeby Leonard Bishop 

K72 Mary Mother Of Jesus by Edward Jablonski 

MS9 A Gallery of The Saints by Randall Garrett, 1 963 

505 Crime And Passion by Dn Eugene B. Mozes 

Paperback Library: 

51 -1 56 Love Me And Die by Day Keene, 1 962 

Perma Books: (1954-1961) 

295 Escape The Thunder by Lonnie Coleman, 1 954 

M3036 Visa To Death by Ed Lacy 

M4032 Captain Of The Medici by John Pugh 

M4045 The Strong Box by Howard Swiggett, 1 956 

M4223 Ship's Nurse by Rosie Banks, 1961 

Pocket Books: (1953, 1956, 1972-1984) 

971 Marked For Murder by John Ross Macdonald, 1 953 

1 071 Arrow In The Hill by Jefferson Cooper, 1 955 

2846 Pick-Up On Noon Street by Raymond Chandler, 4»' 1 956 

78951 Cluster Of Separate Sparks by Joan Aiken, 1 972 

78952 Crystal Crow by Joan Aiken, 1 972 

78953 The Fortune Hunter by Jaon Aiken, 1 975 

78954 Silence Of Herondaie by Joan Aiken 
80722 S/ac/(IV/ndby Miriam Asher, 1976 

? Soul Merchants by Joan Bagnel, 1 977 

83096 No Bed Of Roses by Faith Baldwin, 1 981 

? The Backward Shadow by Lynne Reid Banks 

78882 Two Is Lonely by Lynne Reid Banks, 1 975 

83657 Passionate Jade by Georgianna Bell, 1 981 

8061 8 Secret Of Strange Ways by Joyce Bentley 1 976 

82508 Hails of Dishonor by Jack Bickham, 1 980 

77948 Blood Emerald by Vanessa Blake, 1 975 

? It's Cold Out There by Malcolm Brady 

821 85 Regent Sguare by Forbes Bramble, 1 980 

81 804 Star Below by Christianna Brand. 1 979 

90788 Desires Legacy by Elizabeth Bright, 1 981 

? The Handsome Road by Gwen Bristow 

1 8 Illustration 































Calico Palace by Gwen Bristow, 1 977 82009 

The Junketeer by I.G. Broat, 1979 81934 

Tlvo For Texas by James Lee Burke, 1 982 

Duel In The Sun by Nevil Busch, 1 977 

Hoyt's Children by R.V Cassill, 1977 

Clem Anderson by R.V. Cassill, 1978 

Banco by Henri Charriere, 1 974 

The Crooked House by Agatha Christie 

So Many Steps To Death by Agatha Christie 

Ravensley Manor by Cecily Clark, 1976 

Dark Desires by Parley Cooper, 1 976 

Clone by Richard Cowper, 1979 

Magic Ground by Joseph Csida, 1 981 

Unknown Shores by Joseph Csida, 1981 

The Virgin And The Tower by Ann Chamberlin, 1 979 

The Hostage Bride by Janet Dailey, 1984 

The Lancaster Man by Janet Dailey, 1984 

Silver Wings Santiago Blue by Janet Dailey, 1 985 

Western Man by Janet Dailey, 1 986 

Valley Of Dreams by Carol Daniels, 1984 

Portrait Of The Witch by Dorothy Daniels, 1 976 

Caff/re by Robert Davis, 1978 

Time Of Dreaming by Josephine Edgar, 1 974 

My Sister Sophie by Josephine Edgar, 1 974 

Lady Of Wiidersley by Josephine Edgar, 1 977 

Sir/ /nlV/i//e by Julie Ellis, 1976 

The Sons And The Daughters by Patricia Gallagher. 1980 

The Clue of the Runaway Blonde and The Clue of the Hungry 

House by Ede Stanley Gardner 

The Snow Mountain by Catherine Gavin, 1 977 

Give Me The Daggers by Catherine Gavin, 1977 

The House Of War by Catherine Gavin, 1 979 

The Love Of The Lion by Angela Gray, 1 980 

See How They Run by Angela Gray 

The Bright Blue Sky by Max Hennesey, 1 984 Pyramid 

The Challenging Heights by Max Hennesey, 1 985 PG1 3 

Seven Ways From Sundown by Clair Huffaker, 1 995 R305 

Hotel New Hampshire by John Irving, 1 982 G31 2 

A Marriage Of Convenience by Tim Jeal, 1981 G317 

Kiiman's Landing by W\\]'\am Judson, 1977 G345 

New York N Y 10022 by Steve Kahn, 1 979 G353 

Such A Life by Edith Lazebnik, 1 979 G357 

My Lord My Love by Diana Lyndon, 1 980 G372 

Las Vegas by Arthur Moore and Clayton Matthews, 1 974 G387 

/?/(;ftby Graham Masterson, 1980 G395 

Superluminai by Vonda N. Mclntyre, 1 984 G402 

One Jusf /Man by James Mills, 1 976 G412 

The Beauty And The Billionaire by Terry Moore, 1 984 G41 4 

Smo/cedOuf by Warren Murphy, Digger #1, 1982 R419 

Fool's Flight by Warren Murphy, Digger #2, 1 982 G431 

Oead ieffer by Warren Murphy, Digger #3, 1 982 G432 

Lucifer's Weekend by Warren Murphy, Digger #4, 1 982 G462 

Trusf by Cynthia Ozick, 1 977 R472 

Callie Knight by Jack Pearl, 1 975 G474 

The Sure Thing by Richard Prather, 1 975 G489 

The Daughter Of The Devil by Lozania Prole, 1 974 G493 

An Army Of Children by Evan Rhodes, 1 979 G51 3 

The Pirate by Harold Robbins, 1 978 G520 

The Dorenstein Icon by Janet Louise Roberts, 1 978 R522 

Isle Of The Dolphin by Janet Louise Roberts, 1 978 G549 

Dark Rose by Janet Louise Roberts, 1 979 G560 

The Jewel Of Terror by Janet Louise Roberts, 1 979 G562 

Lord Satan by Janet Louise Roberts, 1 979 G565 

Jade Vendetta by Janet Louise Roberts, 1 976 R576 

The Curse Of Kenton by Janet Louise Roberts, 1 978 R588 

Ravenswood by Janet Louise Roberts, 1 978 G609 

7/)e IVeep/np /.ady by Janet Louise Roberts, 1979 G618 

Chrysalis Of Death by Elanor Robinson, 1 976 G623 

Perdido by Jill Robinson, 1 979 R628 

Mariner's End by Elaine Booth Selig, 1 977 R730 

Scorpion Summerby Elaine Booth Selig, 1977 R930 

The Captain's House by Mary Kay Simmons, 1980 R944 

The Diamonds of Alcazar by Mary Kay Simmons, 1 979 R957 

The Willow Pond by Mary Kay Simmons, 1 980 R967 

Air Surgeon by Frank G. Slaughter, 1 975 R979 

fiuccaneer Surgeon by Frank G. Slaughter, 1975 R1052 

Battle Surgeon by Frank G. Slaughter, 1976 R1094 

Countdown by Frank G. Slaughter, 1976 

Devil's Harvest by Frank G. Slaughter, 1976 

Divine Mistress by Frank G. Slaughter, 1 975 959 

Oead/ytadyO/ZWadagascarby Frank G. Slaughter, 1976 1047 

East Side General by Frank G. Slaughter 1052 

Epidemic by Frank G. Slaughter, 1 976 1056 

The Healerby Frank G. Slaughter. 1975 1068 

Tfte Pass/ona(e /?e/)e/ by Frank G. Slaughter, 1976 1102 

Sword And Scalpel by Frank G. Slaughter 1976 1110 

/n/l Dar/(fiarden by Frank G. Slaughter, 1976 1119 

Spencer Brade, M.D. by Frank G. Slaughter 1149 

Surgeon U.S.A. by Frank G. Slaughter, 1976 1164 

T/ie/yosfiandby Sol Stein 1167 

Death Reign Of The Vampire King by Grant Stockbridge, 1975 1188 

Hordes Of The Red Butcher by Grant Stockbridge, 1 975 1 208 

7/)eC/(yDesfroyerby Grant Stockbridge, 1975 1216 

Death And The Spider by Grant Stockbridge, 1 975 1 225 

// You Can't Be Good by Ross Thomas, 1 974 
The Back-Up Man by Ross Thomas, 1976 
The Cold War Swap by Ross Thomas, 1 976 
The Enemy At Home by Meriol Trevor, 1 974 
The Fugitives by Meriol Trevor, 1 974 
The Marked Man by Meriol Trevor, 1974 
Surrender The Seasons by Catherine Turney, 1 981 
The Ledger by Dorothy Uhnak, 1 972 
The Serpent of Lilith by Margot Villiers, 1976 
Shadow Play by Marvin Werlin, 1 977 
Gannon's /./ne by John Whitlatch, 1976 
Moss On the North Side by Sylvia Wilkinson 
A Killing Frost by Sylvia Wilkerson, 1 978 
The Valiant Woman by Jeanne Williams, 1981 
/yarves/O/fu/y by Jeanne Williams, 1981 
Mayeroni Myth by Daoma Winston, 1 979 
Devil's Princess by Daoma Winston, 1 979 
Haversham Legacy by Daoma Winston, 1 975 
Shadow Of The Unknown by Daoma Winston, 1976 
Trafficante Treasure by Daoma Winston, 1 976 
Gallows Wayby Daoma Winston, 1978 
Sinister Stone by Daoma Winston, 1 975 
/youseO//W/rror /mages by Daoma Winston, 1979 

Popular Library: 

SP46 The Big Cage by Robert Lowry 

The Big Bubble by Theodore Pratt 

Rib Of The Hawk by Rosamond Marshall 

This Spring Of Love by Chades Mergendahl, 1959 

Oh, Be Careful by Lee Colgate 

Loch Sinister by Marilyn Ross, 1974 

A Different Flame by Marjorie M. Bitker. 1976 

75-1188Ellen Rogers by James T Farrell (same art as #SP46) 

Books; 1958-1964 

The Sky Block by Steve Frazee 

Bedlam by Andre Soubiran 

Mrs. Parkington by Louis Bromfield 

French Doctor by Louis-Chades Royer (reprinted as #G-562) 

Prison Girl by Wenzel Brown, (reprinted as #G-609) 

Room To Swing by Ed Lacy 

Mr Arkadin by Orson Wells 

Crimson In The Purple by Holly Roth, 1959 

The Dream And The Flesh by Vivian Connell 

So Dead My Lovely by Day Keene 

City Of Chains by William Pettit 

The Oracle by Edwin O'Connor 

Born innocent by Creighton Burnham 

The Divine Passion by Vardis Fisher, 1 959, (reprinted as #R-628) 

One To Grow On by Nathaniel Benchley, 1959 

Private Eyeful by Henry Kane, 1 959 

Fire in My Blood by Lady Newborough, 1 959 

Golden Rooms by Vardis Fisher, 1 960 

Strange Sisters by Fletcher Flora 

Night is For Screaming by Robert Turner 

Night Nurse by David Holmes, 1 960 

The Brass Bed by Fletcher Flora, 1 960 

A Kiss For A Killer by G.G. Fickling 

A Passion Within by Vardis Fisher, 1 960 

Female Convictby Vincent Burns 

DigA Deadly Dollby G.G. Fickling, 1960 

French Doctorby Louis Royer, 1960, (reprints #G317) 

A Perfect 36 by Ed Springarn 

The World The Flesh i Father Smith by Bruce Marshall, 1960 

How Like A God by Rex Stout, 1 961 

Prison Girl by Wenzel Brown, (reprints #G345) 

King Of Thunder Valley by Archie Joscelyn 

Blood And Honey by G.G. Fickling 

The Devine Passion, Vardis Fisher, (reprints #R419) 

A Nearness Of Evil by Carley Mills 

Rogue Male by Geoffrey Household 

fe//oiv Passenger by Geoffrey Household, 1 963 

Arabesque by Geoffrey Household, 1964 

A Rough Shootby Geoffrey Household. 1964 

A Time To Kill by Geoffrey Household 

Overkill by Norman Daniels. 1964 

The Hunt Club by Norman Daniels, 1964 

Signet Books: 1953-1958, 19 

Revolt Of Mamie Stover by William Mule 

Wives And Husbands by David Duncan 

Heaven Pays No Dividends by Richard Kaufman 

The Mistress by H.C. Branner 

Confessors Of The Name by Gladys Schmitt 

Night Shiftby MarittaWolf, 1954 

Portrait Of The Damned by Richard McKaye 

Murder, Madness and The Law by Louis Cohen. 1 954 

The Naked Angel by Jack Webb 

Black City by M.E. Caufield, 1954 

tef The Night Cry by Charles Wells, 1955 

MaigretAhd The Strangled Stripper by Georges Simenon 

Live For Today by Vincent Sheean 

A Slice Of Hell by Mike Roscoe, 1955 

r/ieiasf /(•/// by Charles Wells 

1233 T/ie Damned tove/y by Jack Webb 

1241 70 f/nd/1/(///erby Lionel White 

1247 So Co/d /Wy Bed by Sam Taylor 

1256 The Bleeding Scissors by Bruno Fischer 

1 268 Stopover For Murder by Floyd Mahannah, 1 956 

1 270 Calamity Fair by Wade Miller 

1275 The Face 0/ 7/me by James T Farrell 

1 276 /'// Kill You Next by Adam Knight, 1 956 
1 294 Violence In Velvet by Michael Avallone 

1310 The Killing by Lionel White 

1311 The Broken Dollby iackVlebb 

1316 The Glass Playpen by Edwin Fadiman Jr 

1319 The Tooth And The Nail by Bill Ballinger 

1 322 Sfone Cold Blonde by Adam Knight, 1 956, 3" 

1324 Oe/ay £n flou/e by Jerry Weil 

1332 Ju//e by Andrew Stone 

1335 Tfte towng Oo// by Robert Switzer 

1 338 Maigret in New York's Underworld by Georges Simenon 

1351 Death Is A Cold. Keen Edge by Fade Basinsky 

1 358 One Tear For My Grave by Mike Roscoe, 1 956 

1 378 Flight Into Terror by Lionell White 

1 393 Paint On Their Faces by Jerry Weil 

1399 Last Days Of Sodom And Gomorrah by Paul llton 

1405 The Private fye by Cleve Adams 

1 422 The Bad Blonde by Jack Webb, 1 957 

1427 Double indemnity by .iames M. Cain, 1957 

1 442 The House Next Door by Lionel White, 1 957 

1 448 nnd My Killer by Manly Wade Wellman, 1 957 

1 461 Wild Town by Jim Thompson 

1 472 Kill Once, Kill Twice by Kyle Hunt 

1 474 The Flesh Was Cold by Bruno Fischer 

1 475 Death in the Fifth Position by Edgar Box, 1 957 
1508 Cry Terror by Andrew Stone 

1526 Death Before Bedtime by Edgar Box 

1538 Dame in Danger by Thomas Dewey 

1 540 No Luck For A Lady by Floyd Mahannah, 1 958 

1556 T/ie Brass /ya/o by Jack Webb 

1 646 Dormitory Women by R.V Cassill 

1 828 Mr Smith by Louis Bromfield, 1 960 

JE1 73 Palm Springs by Trina Mascott (Onyx. 1 990) 

AE6692 Trop/i/es by Ainslie Sheridan, 1990 

691 39 Mutual Consent by Gayle Buck, 1 991 

AE6936 tady China by Elizabeth Hewitt, 1 991 

1 7063 An Unlikely Attraction by Mellnda McRae, 1 991 

Silhouette Books: (1984-1985) 
Moon Oh East Mountain by Hope Mclntyre, 1984 (book #160) 
Strictly Business by Kate Meriweather, 1 984 (book #1 79) 
Wind Shadow by Renne Roszel, 1 984 (book #207) 
Rendezvous by Nancy John, 1985 (book #219) 

Tor Books: (1 991 -?) 

October Wind by Susan V 


ll'ojan Publications; paperback-sized pulps: 1950 
Hollywood Detective Magazine, Oct. 1950 
Pocket Detective Magazine, Nov. 1950 
Six-Gun Western Magazine, Dec. 1 950 


Emergency Nurse by Peggy Gaddis, 1 963 

Soft-Coro Adults Paperbacks: 
All-star Books: 

AS85 The Joy Zone by Anthony Dare. 1 966 
AS1 30 A Tender Bed by Lester Lake. 1 967 
AS143 A Time To Love, A Time to Die by Lester Lake, 1967 
(same cover as Midwood #133) 

Chariot Books: 

1 57 Sex Peddler by Arthur Aldon, 1 960 

21 6 Naked Nurse by Ben Anderton (reprint of All-Star #AS85) 

Private Edition Books: 

110 Country Club by Robert Chessman 

111 Broadway Bait by Ray Damon 

149 Passion Slave by Wilson MacDonald 

1 80 Texas Tramp by John Thompson 

213 7on//e by A.E. Oliver 

368 Bedroom Stripper by Frank Burnet, 1 966 

Bedside Books: 

BB814 Sin Crulseby Leo Masters, 1959 

Bee Line Books: 

1 60 Salesman And The Virgin by Richard Earle and Glenn Johnson 
194 Joy /)/de by Inge Carvelle, 1967 

Challenge Books; 

CB209 Summer Man by Jory Sherman 

CB21 1 Soldier's Woman by Con Sellers 

Edka Books: 

EK114 Sex And The Caged Woman by C.L. Meyers 

Illustration 19 

"Faith," lithograph pubiished as a puzzle and an advertisement for lodent toothpaste, 1936. Oil on canvas. 

20 Illustration 

Eugene Iverd 

American Illustrator for The Saturday Evening Post 

by Dr. Donald Stoltz, Jean Sakumura and Lynda J. Farquhar 


Artist George Ericson, who used the brush name Eugene Iverd, 
was an American illustrator during the Golden Age of illustration. 
He was a man of immense personal charm and enormous artistic 
productivity. His paintings burst onto the American scene during 
the late 1920's when America was recovering from the first World 
War. His own ebullient personality as a skilled raconteur emerged 
in his art; nearly all of his most successful paintings tell stories. The 
stories are the tales of life at its most joyous. He had the gift of 
seeing the small moving vignettes of life that 
for a moment lift us from the day to day into 
a world where children are venerated and the 
old are objects of beauty. He was a painter of 
character. Once having seen Iverd's portraits, 
one is immediately drawn into the life of the 
individual. His work was celebrated on the 
covers of the major magazines of the day, 
The Saturday Evening Post as well as many 

In the main, Iverd was a painter of chil- 
dren. In his paintings children are engaged in 
the business of play, building bonfires for ice 
skating parties, playing baseball or football 
or walking through fields of flowers. They 
give us back our own childhood, especially 
those most magical moments of pure happi- 
ness when the adult world is held in abey- 
ance and play is celebrated. 
Iverd worked as a full time artist for only 
three years. During the whole of his working 
life as an artist, 13 years in all, he produced 
54 magazine covers, over 55 paintings for advertisements, 15 pub- 
lished lithographs, 25 story illustrations, and hundreds of original 
portraits or landscapes for family and friends. While his career was 
brief (he died at only 43) his work is being rediscovered today. 
Numerous recent calendars have used his paintings. His work has 
appeared on beverage cups, postcards and sweatshirt transfers. In 
the last few years literally dozens of these items, especially the cal- 
endars, contain one or more of his illustrations depicting children 
at Halloween, Christmas, and all other times of the year. 

He is being rediscovered because the country is once again in 
turmoil, trying to rediscover the meaning of values and of family. 
His joyous innocence and halcyon images lessen our fears and 
invite us to find and celebrate the child in ourselves. 

— Lynda J. Farquhar, Ericson's granddaughter 


The year was 1926. Calvin Coolidge was President of the United 
States, the world was at peace and America was bathed in economic 
stability. Charles Lindberg was planning his solo flight to Paris and 
work was proceeding on the first vehicular underwater construc- 
tion, the Holland Tunnel in New York City. The Book of the Month 
Club was founded, Al Jolson was filming the first talking movie, 
"The Jazz Singer" and Ernest Hemingway's, The Sun Also Rises was 

In the midst of this artistic, literary and 
industrial excitement, a young art teacher in 
Erie, Pennsylvania wrote a heartfelt letter to 
his beloved mother. The letter exploded with 
excitement as he informed his mother that 
one of his paintings was going to appear on 
the cover of the most popular and presti- 
gious magazine in the world, The Saturday 
Evening Post. He was going to be rich and 
famous and he wanted the woman who had 
nurtured and encouraged him to be the first 
to know. He wanted to tell her that her 
son, George Ericson, who painted under the 
pseudonym of Eugene Iverd, would soon 
be associated with such famous names as 
James Montgomery Flagg, Howard Chandler 
Christy, Maxfield Parrish, Charles Dana 
Gibson, N.C. Wyeth, J.C. Leyendecker and 
Norman Rockwell. Yes, a new star was on the 
art world horizon and his name was Iverd! 

George Ericson painting "Iverd's Boats" cover, 1934. 

Friday Evening 

My Dear Precious Darling Mother: 

Excuse this big salutation but I can't wait another moment. I 
must tell you the good news. You will remember my telling you I 
submitted 4 canvases to The Saturday Evening Post. Well yesterday 
I got a letter from them and they told me they were very much 
interested and see possibilities in several. They also said that a Mr. 
Martin was coming to Erie to go over the pictures with me. Last 
night I got a telegram from them saying Mr. Martin would see me 
this evening. 

He came with the big canvases up to the house and I talked with 
him for an hour. He told me so many things. I can't believe them 
even now. He said they had them on exhibit there for a week. And 
every artist who came in was asked to give his opinion. He said that 

Illustration 21 

THE sarum>MY 


I fL Wii-i^.— »^» MJ' - ' * Clbk^n 

Iverd's first cover, "Accordion Serenade." Saturday Evening Post, 3/13/1926. 

good cover artists were the scarcest things on the face of the earth. 
He told me that after I had sold two canvases a year I would be 
making as much as I would in a whole year of teaching. 

I did not tell you. They want me to make slight changes in 
one of them, quite a good deal on another one, and return the 
two canvases. "They never contract for canvases," he said, but after 
the sketches are approved they are as good as sold. Ma, they are 
occasionally turned down even then. But I do hope they will take 
these two. He could not tell me what they were going to pay me, 
but he thought between $300.00 and $500.00 each. And then they 
go much higher later. 

I had a lot of other stuff to tell you, but Mother, I am too 
excited. Think of it Mother. I was good enough to have them send 
a special man down to see me. If I can get in with them Mother 
you will have everything you ever wished for. The big artists get 
from $1,000.00 to $1,500.00 each for their covers. 

Love, George 

PS: Oh! Yes I must tell you this. He said he has never seen any 
covers cause so much of a stir up in that office since he has been 
there. Chief editor Mr. Lorimer said, "Who is this man Iverd? Why 
haven't we seen some of his work before?" So they sent this man 
down to see if I was a young man. And the first thing he asked 
Lillian when he came up stairs was if I was her husband. He wanted 
to know all about me. How long had I been married, even! 

He said the editor said my stuff was as good as Norman 
Rockwell's earlier stuff He told me that Mr. Rockwell has been 
West for his health and if they should lose him they would lose 
thousands of dollars. He said they were anxious to find young 


"Iverd's Boats," Saturday Evening Post, 6/24/34. 

men who could develop into cover artists. He said they received 
thousands of covers by artists trying to get in. And also that 1 was 
very modest. He said most artists thought their things were good 
but I thought mine were no good. He said they want young men 
that can grow with them. 

Oh! Yes, my covers will be run in full color. The first one will 
appear in February, 1926. 


George Melvin Erickson was born January 31,1893 in St. Paul, 
Minnesota. His parents, John and Matilda Erickson, were Swedish 
immigrants who come to America as teenagers in 1877 and 1882, 
respectively. John Erickson worked in construction, as a bricklayer, 
plasterer and general construction laborer. Matilda worked as a 
domestic for one of the wealthy families in St. Paul. After their 
marriage in 1890, the couple started their family, but a serious 
depression developed at the turn of the century and construction 
in St. Paul come to an abrupt halt. 

John Erickson became concerned for the well-being of Matilda 
and their two children, John and George, and he decided to move 
the family to Waseca, Minnesota, a small town in the southern part 
of the state where work opportunities were plentiful and a job was 
available. In Waseca, John and Matilda rented a house and settled 
down in a very meager dwelling. Conveniences were minimal and 
they had no lights or refrigeration. There was no indoor plumbing 
and ice was cut from a nearby lake and stored in sawdust to 
cool ice boxes in the summer. The streets of Waseca had wooden 
sidewalks that were slowly being replaced with concrete, and this 
opened the door for John to have steady, long-term work. 

22 Illustration 

(Vlonarch Food ad "Boy Gazing into Fire," 
Saturday Evening Post, 2/1/30. 

Although life for the Erickson family was not easy, they were 
happy, and compared with other folks in town, quite fortunate. 
They had a big vegetable garden with a crop large enough to pre- 
serve for the tough Minnesota winters and they had good children 
who worked the garden and helped with household chores. In 1896 
a daughter, Lida, was born. In 1899 another son, Carl, was born, 
and in 1904 a daughter and final child, Helen, joined the family. 

Shortly after settling in Waseca, John and Matilda joined the 
Swedish Lutheran Church so they could worship in their own lan- 
guage. They spoke Swedish in their home and among their circle 
of Swedish friends, but they learned to speak enough English to 
converse with their neighbors and communicate at work. However, 
when their oldest son John Albert started school, he struggled 
to learn English and was frustrated with his accent and com- 

munication skills. Matilda quickly realized her children were being 
educated with a hardship and suddenly announced to her husband 
and family that only English was to be spoken at home. They 
soon joined an English-speaking church, the Waseca congrega- 
tional Church, which become their religious home and regular 
place of worship. 

Even at an early age, young George was beginning to experience 
a strong urge to draw. He shared his mother's love of beauty and 
yearned to create beautiful pictures. He drew wherever he was and 
on any scrap of paper available. By the time he was in second grade 
he delighted in sneaking back home after leaving for school and 
spending the day hiding in an attic, drawing to his heart's content. 

Matilda turned a blind eye to his activities, knowing how impor- 
tant drawing was to him. George also had an elementary school 

Illustration 23 

"Children Wading," publisiied as a calendar, 1930s. 

teacher who loved art and encouraged his drawing. She didn't 
concern herself too much with his attendance or his spelling, which 
was atrocious. She simply failed him for the year, allowing him 
to stay in her class and draw. This convenient arrangement, his 
mother allowing him to spend his days in the attic and his teacher 
who taught him more art than spelling, enabled him to repeat 
second grade three times as he honed his artistic skills. When 
his second grade teacher married and left teaching, he passed on 
through the Waseca public school system, although he never did 
master spelling. 

It was obvious that the young boy had an innate talent and a 
burning artistic desire; his future was beginning to become evident. 
George Erickson was going to be an artist. His sketches were found 
everywhere, even on the inside covers of the hymnals in church. 
It has become legend that many hymnals with his artwork are still 
preserved with care in several of the homes of Waseca. 

However, living in a small town, art supplies were limited 
and paints were either not available or were very expensive. He 
decided one place to find paints would be in the hands of house 
painters. So, he found some local painters and tagged along with 
them, watching and learning. He observed how they mixed colors, 
applied undercoats and varnishes, and cleaned and cared for their 
brushes. The painters, who grew fond of their young admirer, gave 
George small jars of pigments and base paints, and soon he was 
mixing and experimenting with various hues, blends and textures. 
At age 1 1 he decided he would paint a family member to see if 

others could recognize the person. He chose his baby sister Helen 
and painted a picture of her crawling up a step to see a cat. 

The picture was instantly recognized by everyone, and George 
was praised and encouraged. He continued to experiment with 
house paints and turpentine, and he painted many rough pictures 
on scraps of wood he found in the garden shed. Unfortunately 
these early masterpieces often became the kindling wood his father 
would use to start the kitchen stove. 

Although George's father never believed one could succeed in an 
art career, Matilda encouraged his talent and creativity. She was a 
strong, loving, joyful force for her five children and was always a 
devoted, loyal wife to her hard working husband. 

The family began to prosper in Waseca, which was a small fron- 
tier town set in rich, rolling countryside. John Erickson set up a 
construction firm, and soon thereafter, seeing the growing demand 
for concrete, organized a concrete company. His firm was in con- 
stant demand to pour the many new streets and sidewalks of the 
growing community and the company prospered. Things became 
so good that at the age of 12 George was able to convince his father 
to give him enough money to order a set of oil paints from the 
Sears and Roebuck catalog. In later years, George was to point a 
portrait of himself as the young artist at work, remembering the 
help of those early local painters. 

In 1905 the three things that everybody read in a small 
Midwestern town were the Bible, the Sears Catalog and The 
Saturday Evening Post. When his set of paints arrived, George 

24 Illustration 

"Inspiration," 1930s. 

knew that his days of fame and fortune were not far away and he 
was going to be a great artist and maybe paint pictures for the Post 
like Harrison Fisher, Henry Hutt, Guernsey Moore, William Ladd 
Taylor and the great Leyendecker brothers. 

But George's father had concerns for his son's future. Artists 
were commonly considered as ne'er-do-weUs who lived as poverty 
stricken Bohemians, struggling to make a living. He felt George 
should join him in the construction business, put in a good day's 
effort for a good day's wages and leave the drawing for an evening's 

Matilda, however, had a different philosophy. She believed in 
letting the children follow their own interests and she gave them 
the freedom to grow and learn in their individual ways. When 
George's younger brother, Carl Evard, set up a chemistry lob in his 
bedroom, his mother ignored the fumes and mess and gave him a 
free hand. When John objected to Carl drilling holes in the walls 
to run the wires for his electrical inventions, and tried to call a 
halt to things, Matilda held her ground, saying, "Let him do what 
he wants to as long as he is learning and as long as I can keep 
an eye on him, so I know he's not in trouble." But her love for 
her son George went beyond support; she was his biggest admirer, 
inspiration and confidante. 

In addition to drawing, George did all the other things that every 
kid did during that period. He played ball and swam and fished 
and skated. He even tried skiing with homemade skis that he made 
from barrel staves. Because money was limited, George and his 

Visit my website: 


Illustration 25 




^IhnTbuJLJOHuHKi Uri Pud CimjIdkH 
Saturday Evening Post 3/3/28. 

TO^ TPi -tA L-?!! >m>IC iiaiwuT 

Satan/ay Evening Post 3/24/34. 

Saturday Evening Post 1/3/31. 

friends became innovative and made many of their own playthings, 
hke swings, go carts, and sail boats. Many years later his brother 
Carl said, "Looking at George's Post covers reminded me of many 
things we did as kids." 

When he was 12 years old, George was given the task of taking 
his little brother, six year-old Carl Evard (a Swedish name which 
was pronounced Iverd with a long "i"), to school. He led his 
brother by the hand into the first grade class. Up to that time 
Carl had always been called by the name of "Iverd." So, when 
the teacher asked George what his brother's name was, he replied, 
"Iverd." "Iverd what?" asked the teacher. "Iverd Erickson," respond- 
ed George. "But what is his middle name?" 
asked the teacher. "We need his complete name 
for our records." Neither George nor his broth- 
er knew of any other name. So George prom- 
ised to go home and find out. What the boys 
discovered when they went home for lunch 
that day and asked their mother was that his 
name was actually Carl Evard, but that he had 
always been called by Iverd, his middle name. 
His older brother John Albert was likewise 
called by his middle name and years later 
George's younger daughter, named Mary Jean, 
was referred to as Jean because Jean Ericson 
sounded better than Mary Ericson. The tradi- 
tion still lives on in the family as two of the 
Ericson granddaughters have been referred to 
by their middle names since infancy. 

When Carl Evard discovered at age six that his given name 
was Carl, he immediately decided he hated the name "Iverd" and 
hereafter would only use the name Carl. Of course, the children in 
the neighborhood gloried in teasing him and calling him "Iverd," 
just to see him get red in the face. 

One day when George was 14 years old he came out of the house 
and saw eight year old Carl playing in the backyard and he called 
out, "Hey Iverd, come here I want to tell you something." Carl 
replied with, "My name is not Iverd and I won't come unless you 
call me Carl!" "Iverd is a good name," George retorted. Just then he 
looked across the street and saw a little boy by the name of Eugene 
who always teased Carl about his name. Carl reiterated, "Iverd is a 

Young Lillian Remund 

dumb name just like Eugene!" "No," George replied, "and someday 
when I'm a great artist I'm going to use both names and prove it to 
you. I'm going to make the name Eugene Iverd famous!" 

As time passed, brothers Albert and Carl continued with their 
inventions and George found himself increasingly compelled by 
art. Matilda's faith in her children's talents opened the way for suc- 
cess in their endeavors. Albert, the oldest, held 44 patents on vari- 
ous marketable machinery he developed and manufactured during 
his lifetime. Carl also held several patents on ingenious devices he 
sold to various manufacturers. The younger sister, Lida, became a 
woman ahead of her time by starting her own business in Waseca. 


Because of his early spelling difficulties and 
repetitions of the second grade, George was 3 
years behind in school. When he finally gradu- 
ated from eighth grade at age 16 he was three 
years older than most of his school friends. 
With manhood approaching and his innate eye 
for beauty maturing, he took notice of one of 
his classmates, Lillian Remund. 
In his eyes her classic features appeared to 
be perfection, and he responded strongly to her 
beauty, in spite of the freckles that sprinkled 
her face. While today freckles are often seen as 
beautiful, in those days they were viewed nega- 
tively. But George was glad she had them. He 
thought none of the other boys would think 
she was pretty and he could have a better chance of attracting her. 
Indeed he did capture her heart, and theirs became an adolescent 
love affair with all the depth and intensity of Romeo and Juliet. 
In high school George continued drawing and painting. From 
time to time the town paper would publish his cartoons. This gave 
him satisfaction, his mother great pride and his father consterna- 
tion. When George submitted the cartoons to the Waseca paper, he 
began signing them Ericson instead of the spelling of his family 
name Erickson. He preferred the look of the name without the "k." 
Even then he was aware of the salability and visual appeal of his 
total product. 

During high school he got a job with a vendor in Waseca who 

26 Illustration 

had a portable peanut and popcorn machine. George worked with 
him for about a year and learned the mechanics and business of the 
operation. At the end of the year, the fellow decided to leave town 
and wanted to sell the machine. He offered George the business, 
including the machine, for $300. After much deliberation, George 
had a long discussion with Carl and told him that although he 
thought the business venture was sound, he couldn't get involved 
because obtaining the $300 for the investment would be impossible. 
Being part of a poor family in 1912, $300 
seemed like a fortune. 
But in the year he had operated the pop- 
corn machine, he had discovered the finan- 
cial rewards and was sure that not buying 
it would be something he would eventually 
regret. After thinking of every possible way to 
get monetary backing, the brothers decided 
to try the local bank. 
After discussing the venture with their 
father, who had reservations about the idea, 
George and Carl went to talk to the local 
banker, with some trepidation. Mr. Baird, 
the executive at the bank, knew everyone in 
the little town of three thousand people and 
listened attentively as the two young boys 
explained their desire to go into the peanut 
and popcorn business and buy the machine. "Well, boys," he said, 
"I know you will pay this money back and this is a good business 
venture for you, but I cannot let you borrow the money because you 
are not of age. But," he added, "I'll tell you what I will do. If you will 
sign this note for three hundred dollars and if your father will come 
down, and put his signature on it underneath yours, the bank will 

The peanut and popcorn machine, 1912 

loan you the money you need." 

With hopeful optimism, coupled with anxiety, the boys returned 
home and explained the problem to their father, who said, "Yes, I'll 
do this for you. I'll stop into the bank tomorrow." And the next day 
he went to the bank, signed the note and shortly thereafter the boys 
were given the money and were in business. 

The decision proved to be a good one. Every day after school 
the boys would go to a small shed in the downtown area where 

>r the popcorn machine was stored. They would 
then pull the machine to the Ruby Theater 
where, at that time, silent pictures were play- 
ing for a 10 cent admission. The boys would 
park their machine outside the theater and 
sell popcorn for 5 cents and peanuts for 
10 cents a bag. To reduce their costs, they 
would use fifty percent butter and fifty per- 
cent lard to cover the popcorn. And everyday 
they would polish up the brass and clean 
the windows so that everything was sparkling 
by the time they were ready to take it out 
at night. Because they had only one bicycle, 
George would pump the bike home and Carl 
would sit on the handlebars. 
After dinner they would get back on 
the bike and pedal downtown to pull their 
machine out onto the street so they would be ready for their cus- 
tomers. During quiet times when there was a lull in the business 
they studied their lessons for the next school day. With their new- 
found income the boys managed to buy their own clothes and 
have some spending money. In addition, the venture taught them 
something about the mechanisms of business such as purchasing. 



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Illustration 27 

expenses and profits. They continued with their small entrepre- 
neurial project through high school. 

Throughout high school, George continued to court Lillian. 
They went to parties and picnics together. He sang in the glee club 
and played basketball. When George wasn't drawing or involved 
in school activities, he was with Lillian. They were deeply in love. 
However, in 1912 Lillian's father moved the family to a farm in 
Amery, Wisconsin. The couple was separated for a year while 
she attended high school in Amery. During that year Lillian was 
extremely unhappy and understandably depressed. She besieged 
her parents to allow her to return to Waseca, where she could 
graduate with her original high school class. Ultimately, her parents 
relented and found a family in Waseca where she could board for 
a year until graduation. 

Consolidated Food Corporation ad 

"Daisies and Little Girl." 

Photo by Pete Gool 

Young Adulthood 

After high school, as her parents had wanted her to do and as 
her mother had done before her, Lillian become a teacher. She 
attended a six week course at a teachers' normal school and began 
her career. Living on the family farm, she taught at a one-room 
country school a mile and a half down the road. There she served 
as teacher and janitor, which required getting to school early on 
winter mornings to fire up the wood-burning furnace before the 
children arrived. She drove a horse and buggy through deep drifts 
of snow to open the school each morning. The horse was not able 
to stay outside in the snow all day and had to be stabled in a nearby 
barn during school hours. 

Life was exciting for George and Lillian in those years, and they 
looked to the future with optimistic anticipation. However, the 

28 Illustration 

Campbell Soup ad "Does he lil<e butter too?" Saturday Evening Post, 5/26/33. 

rest of the world was moving just as inex- 
orably toward conflict. Political upheaval 
was stirring in Europe and a major war 
had begun. 

At this point in his life (1914) George 
wanted to go to art school. His father was 
paying for his older brother, Albert, to go 
to business college, but George's choice 
was to attend the St. Paul Art Institute. 
John Erickson was insistent that George 
follow in his older brother's footsteps and 
study business at Yankton College in South 
Dakota, which eventually and reluctantly 
he agreed to do. Attending classes seemed 
like a monumental waste of time to George 
because it took him away from his draw- 

A few weeks into his first term he 
withdrew from college and went home to 

Waseca to confront his father. He simply would not study business, 
and art was the only thing he wanted to learn. John became ada- 
mant. "Not on my money you won't," he said. "No son of mine will 

George and Lillian's first child, Ruth, 

become a pauper artist painting in an attic 
and depending on the charity of others 
for his keep." George's mother, however, 
continued to express her faith in her son's 
talent. Ultimately, George decided to go 
to the city and try to earn his own way 
through school. His brother Carl, always a 
supporter and admirer of his older broth- 
er's talent, offered to help him financially. 
And so at age 20, George enrolled in the 
art school in St. Paul and Carl stayed home 
and operated the little peanut and popcorn 
business. Every week George received a box 
from Carl, which included the washed and 
folded laundry that he had sent home to 
his mother the week before, with some 
cookies and cakes that Matilda had made 
and a check from the business. But the 
stipend by itself wasn't quite enough for 

him to survive on, so George got a job as a busboy in a St. Paul 


The job in the cafeteria gave him something to eat but it still 

Illustration 29 

wasn't sufficient to sustain him so he also got a job as a shoe 
salesman in a local shoe store. He didn't know much about shoes, 
but he learned quickly and between the two jobs and the money 
that Carl was sending, in addition to residing at the YMCA, he was 
able to cover the costs of his schooling. 

After one year at the St. Paul Academy, George decided he had 
learned all that the faculty had to teach him. He then decided to 
take another educational step and applied to the Academy of Fine 
Arts in Philadelphia. Upon his acceptance in 1916, he got a job in 
a cafeteria so he could acquire his food, and he also got a job in 
another shoe store. By then he was an experienced shoe salesman. 
Once again he took up residence at the local YMCA and kept 
himself enrolled in school, fed, housed and clothed. 

While studying in Philadelphia, George began to create illustra- 

Monarch Food ad "Boy with Lantern," 

Saturday Evening Post, 12/31. 

Photo by Pete Gool. 

tions for magazine stories. Because of this supplemental income, 
he was able to take a train on occasional vacation periods to visit 
Lillian at the Remund family farm in Amery, Wisconsin. By this 
time he and Lillian wanted very much to be married but all four 
parents united in opposing such a move. Lillian would not live in 
such poverty, and of course there was a chance that George would 
be drafted into the service. 

Although George was a good and serious student, competition 
was strong at the Academy and he was never able to win any of 
the cash prizes that were awarded. However, he was delighted when 
the Pennsylvania Academy of Fine Arts decided to use one of his 
drawings in a school catalog. 

On the morning of April 3,1917, news spread throughout the 
world that on the previous night President Woodrow Wilson 

30 Illustration 

had asked Congress to declare war on 
Germany. Although the United States was 
poorly prepared to engage in a large con- ' 
flict, the American people slowly moved J-' 

from watchful waiting to willing partici- ii 

pation. Within six months everyone was ^ • 

singing George M. Cohen's rousing martial »._ 
tune "Over There." On May 17, 1917 
Congress passed the first selective service 
act by an overwhelming vote. Under the 
act all men age 21 to 30 had to register l 

for the draft. Only men with dependents T 

or those with an essential job such as farm 
work could be deferred by the local draft 

Although George escaped the first 
round of draft notices, in February of 1918 
the dreaded letter came from the Waseca 
County draft board. George returned 
home for his physical examination and 
processing. To his delight he failed the 
physical because he was underweight. The 
two years of struggling, living as a part- 
time salesman and a full-time student with meager food and long 
hours, had taken their toll on his body weight. 

The year was 1918, George was 25 years old and Lillian was 22. 
Lillian had been saving money and George hadn't qualified for 
the draft. Their parents reluctantly agreed to a marriage. The 
details of the wedding were quickly arranged and George's parents 
came from Minnesota to Wisconsin by train to give their blessing. 
The wedding was held February 27, 1918, in the Remund family 

Prelinninary oil sl<etcii 

living room. A young neighbor girl, Irene 
Lundgren (later to marry Lillian's brother), 
provided the piano music for the few fam- 
ily friends who gathered for the festive 

Lillian had made herself a beautiful new 
dress, but the only suit that George had 
was the one his father bought him when 
he started college. During the four years he 
was away he had gotten as much wear as 
he could out of those warm wool pants, 
always being careful to cover them with 
a smock when he painted. But time had 
worn the material thin, and not only did 
the years show on the suit, but also his 
skinny left knee could be seen through a 
small hole! With a grin on his face he sim- 
ply took a pen and blackened his knee to 
make it less noticeable. 
When the preacher asked him to present 
the ring, George looked worried as he 
reached in his pocket, then frantically 
started searching all his pockets. Many of 
the guests thought that the hole in the knee wasn't the only hole 
in the suit, but finally, with a wink to all present, he pulled the 
ring out. His sense of humor could not be left out of that joyous 

Following a sumptuous meal in the Remund dining room, 
George and Lillian were bundled into a sleigh with all of Lillian's 
hope chest treasures, and the couple began the cold seven mile 
trip through the snow to Amery, where they caught the train to 

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Dean Cornwell. Original art for the 1927 Dutch Treat Club Yearbook. 

Illustration 31 

"Baby Jean." Oil on canvas. 

Photo of Jean with babydoll. 

"We Walked in Fields of Gold." Campbell Soup ad in Saturday Evening Post 3/26/32. 

32 Illustration 

"Homeward Bound." Oil on canvas. 

"Spring Scene-Willows." Oil on canvas. 

Philadelphia. In those days, such a distance represented 6 or 7 days 
of travel and a vast psychological chasm. No telephones existed at 
that time in remote rural locations. The families were truly saying 
goodbye to all but letters, often for months, sometimes for years. 
In Philadelphia they set up housekeeping in a small apartment 
with LUlian's possessions and the help of the money she had saved. 
Although they had very little to live on, they looked at their poverty 
as an adventure and a challenge and always found great fun in 
"making do." Together Mr. and Mrs. George Ericson could tackle 
the world. 

The War Years 

When George was called up again for the 
draft that summer, the couple was not overly 
concerned as they returned to Minnesota 
for his physical examination. Their limited 
income had not put any weight on him. To 
their dismay, the Army had lowered its stan- 
dards and he was accepted. On August 15, 
1918, he was inducted into the army and 
went to boot camp at Fort Snelling in St. 
Paul. While there, he continued to draw and 
had several of his drawings published in 
the armed forces newspaper "Reveille." After 
basic training he was transferred to Camp 
Alfred Vail in New lersey with the rank of 
sergeant, serving as a clerk in the signal 

During the fall of 1918, George came 
home to visit his parents on a 10-day fur- 
lough. At that time he was extremely unhap- 
py about being in the Army because it was disrupting his art career. 
When the leave ended and he was about to return to New Jersey, 
he suddenly burst into tears and said, "This may be the last time I'll 
ever see you. I have to say good-bye because our company is going 
to France. That is why they gave me this furlough." 

After an emotional parting, George got on the train and waved 

Iverd with WWI sculpture commission 

good-bye to his family and started back to Camp Alfred Vail. As 
he was packing and his outfit was getting ready to be shipped 
overseas, news came that the Armistice had been declared, and a 
universal sigh of relief accompanied by overwhelming joy spread 
throughout the country. Of course, for George Ericson it was as if a 
door had finally opened to his future, because now he felt he could 
truly pursue his career in art. 

With the country now at peace and the nation slowly healing, 
the government looked seriously at the rehabilitation of its wound- 
ed men. George's talent was known from his drawings in Reveille 
and for this reason he was transferred to 
Walter Reed Hospital in Washington, D.C., 
where he was put to work teaching art to 
wounded veterans. This marked the begin- 
ning of a very important phase in his life — 
teaching. He found great joy in sharing his 
love of art and his skills. 
While at Walter Reed Hospital the gov- 
ernment commissioned him to make a 
model of U.S. infantry men for an exhibit. 
The sculpture displays a WWI mule-drawn 
wagon with two drivers, and another soldier 
on horseback leading a mule. The wagon 
was crafted through a special commission 
to the Studebaker Company. However, the 
mules, soldiers, and every detaU of the 
harnesses were sculpted by Ericson. This 
beautifully crafted clay model of infantry 
men on horseback was cast in bronze and 
became the focal point for a United States 
display at the Musee' de Armee (the French 
War Museum) in Paris. It is still there on permanent display. 

Teaching Art 

In 1 92 1 George was discharged from the Armed Forces and 
began looking for work. Teaching seemed an interesting possibility, 
although he had no formal academic teaching credentials. He sent 

Illustration 33 

THE smvmnT 



JLli EUuil 

Saturday Evening Post 10/6/34. 

Saturday Evening Post 6/11/32. 

out several applications and resumes, one of which went to Erie, 
Pennsylvania, a small thriving industrial city set among the hills on 
the eastern shore of Lake Erie. Erie had a rapidly growing popula- 
tion owing to two major companies that had branches there, the 
General Electric Company and the Hammermill Paper Company. 
The city also had a few small colleges and a branch of Pennsylvania 
State University among its many public and private schools. The 
public schools in Erie decided to give the young veteran a chance, 
and George happily accepted the position. At least he would be 
working in the field of art, and he could always paint illustrations 
and fine art on weekends and evenings. 

His employers at the school quickly recognized that they had 
hired not only a talented artist, but a talented teacher as well. His 
passion to share his art, his deep empathy for others and his ready 
sparkling wit endeared him to his students. 

Many of his students credited their successful careers in art to 
the inspiration given to them by George Ericson. At one time, six 
of his students went on to the Pennsylvania Academy of Fine Arts. 
In addition to being a mentor to many students, he also counseled 
them in other areas of their lives, even suggesting ways to finance 
their continued artistic education. One of his students remembers 
him coming to her parents' home on the weekend to let her know 
the joyous news that she had received a scholarship to attend Pratt 
Institute in New York. 

After a brief period of teaching art in a single school, the Erie 
school system felt that they could use his unique talents in a broad- 
er capacity. George Ericson was asked to supervise art instruction 
in all of the city schools. An assistant was hired to help him, so he 
would have time to handle his city-wide duties while continuing 
to teach art at Academy High School, during his free time away 
from the classroom, he continued painting at home, but his work 

area for painting was extremely cramped and interruptions were 
frequent. He soon realized he needed a studio. He went to Sevin's 
Art Shop, in downtown Erie, and asked if they knew of a place that 
he could rent cheaply and use as an art studio. The owners of the 
art store told him that they had empty space upstairs at the store, 
and if he cleaned it out he could use it completely free. Later he 
joked with his brother Carl that he had taken a salary cut at school 
because of the Depression so he was thinking of asking Sevin's to 
lower his rent! 

By now his illustration jobs were becoming more plentiful, and 
he was submitting many pictures to publishers for magazine cov- 
ers, calendars and advertisements. However, he also continued to 
work at his first love, landscape art, and he signed all his fine 
artwork with the name Ericson and all his commercial art with 
Eugene Iverd. 

He never forgot his boyhood vow to his brother Carl of using 
Eugene Iverd as his brush name, and he now realized that publish- 
ing under this name would be his way of honoring his brother and 
thanking him for his help, dedication and devotion during those 
early lean years. 


George and Lillian's first child, Ruth, was born in 1924. George 
delighted in her innocent beauty and developing personality. She 
became his favorite model and appeared in many of his paintings. 
It is around this time that his focus on painting children become 
paramount. No doubt fatherhood was a powerful life changing 

In 1926, realizing he needed more time for his own artistic 
development, he requested and got approval from the Erie school 
system to reduce his hours. This allowed him more time in his 

34 Illustration 

studio. Some people still remember his warm and generous spirit 
when he sent a letter of request to the superintendent of schools 
saying that he knew their budget was tight, and he would be happy to 
cut the amount of his own pay in order to give a raise to his assistants 
in the schools. 

Because of his teaching schedule, his summers were his own, and 
during the summer months George and Lillian would pack up their 
belongings, load the camping gear in the car and head for their 
family homes camping by the road along the way. After visiting the 
Erickson's in Waseca, they would spend an extended period of time 
at the Remund farm. This was an extremely challenging trip for the 
young family with an infant. The trip itself was 5 to 6 days long, and 
campgrounds did not exist. Lillian discovered that camping near one 
room school houses at least afforded a pump with cold water and a 
way to provide water to wash her baby and cook the family meals. 

While on the Remund farm, Ericson set up his studio, often in an 
abandoned log cabin across the field from the family home. The farm 
often had extended visits from various relatives, and it was always 
the understanding that whoever visited would "lend a hand" with 
whatever farm work was underway at that time. This included driving 
horses in the field or sometimes pitching hay for the harvest. 

George, however, was never expected to work in the fields. His tal- 
ent was special and respected by family and friends alike. He enjoyed 
plein aire painting as well because there was always wonderful inspi- 
ration from his family, friends and neighboring children in the area 
at their work and play. 

During a few of these early summers George went to the Canadian 
lake country, canoeing and camping with two brothers-in-law. While 
his companions fished, George set up his small easel and sketched 
and painted. He loved to catch the movement and lights in the 
running water, as well as the beauty of the northern woods. On 
March 24, 1934, a painting on the cover of The Saturday Evening Post 
captured these fond experiences. The picture portrays a father and 
son portaging a canoe on a camping trip. 

In addition to his artistic talents, George was also an excellent 
photographer. Because children, who were the focus of so much of 
his work, were in a constant state of animation, he quickly found a 
camera to be a great help. He invested in an expensive Leica with a 
tripod and various lenses. Later, when movie cameras become more 
readily available, he also experimented with their use. With his photo- 
graphic equipment he could have models move in and out of poses, 
adjusting to try various angles. He could scan faces and hands and 
occasionally catch the exact fleeting expression he was seeking. He 
would set up a temporary easel next to a movie screen, and project 
images onto the screen while he sketched them on his easel. Later he 
set up a full photographic studio and development lab in his home so 
he could carefully control the resolution of his photographs. 

Photography also allowed him the freedom to do off-season work. 
The Post cover of March 3,1928, shows a boy tumbling on skis. The 
model was actually photographed in his studio in the summertime in 
an upright position with his skis nailed to blocks. The photo was then 
inverted for the painting and the background created. 

Some people believe that he was one of the first artists to use stop- 
action photography. Because many artists would project pictures onto 
a canvas and then trace the outline, a practice scorned by artistic 
purists, Ericson kept his photographic activities quiet. However, he 
used the photos to enable him to draw as one would from models. 
He never used images projected on canvas. AH forms of photographic 
assistance to an artist later became acceptable practices. 

For most of his illustration work Iverd used a pencil to sketch the 
basic shapes of his figures and faces on the canvas and then he would 
begin painting. In his landscapes and impressionistic art he enjoyed 
the free use of beginning with his brushes. 

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Illustration 35 



^^ JOljI^NAL 

4rillrilil LiLcia bi- 

Saturday Evening Post 6/22/35. 

Ladies Home Journal 5/34. 

la(//es Home Journal 12/35. 

By 1926 Ericson's commissions for illustrative work were becom- 
ing more plentiful, and he had even been successful in getting some 
covers published on The Christian Herald. 

At that time he decided with some trepidation that he would 
make an effort to get a painting on the cover of The Saturday 
Evening Post. The Post at that time was considered to be the most 
popular and prestigious magazine ever published. The artists and 
authors who worked for the Post were legendary. If nothing else, he 
thought he could learn what they did not want. He selected four 
fuU-sized canvases, signed them "Eugene Iverd" and sent them off 

George expected their rejection and hit upon a strategy to use 
when they were returned. When he got the first four back he 
planned to send in four more, and then four more until one was 
accepted. To his immense delight, one of the first four was accepted, 
and the Post sent a representative to encourage this major young 
talent. Immediately upon acceptance of his first cover he wrote a 
letter to his mother telling her not only the result of his submission 
but also of his admiration and appreciation for all she had done. 

His first cover, "Accordion Serenade", showed a young boy in the 
first flush of adolescence playing a love song on the concertina to a 
beautiful woman. Black-and-white photos of the lovely faces of the 
stars of stage and screen are posted on the wall behind him. 

Iverd had two sides to his nature; he was gregarious, sensitive and 
warm to family and friends and delighted in their company. Yet his 
work required long hours of solitude, which he also enjoyed. The 
solitary times gave him much time for reflection on his life and his 
relationships with others. He reflected on his purpose in life and 
on the reading he and Lillian shared during their evenings at home. 
He thought about the beauty in all of nature and in mankind. He 
drew his inspiration from the world around him and his empathic, 
energetic and often humorous view of life enabled him to delight in 
what he saw. He viewed all people as basically good. This is what his 
experiences had taught him, and he painted what he perceived. 

Vincent Van Gogh had his brother Theo who helped him through 
crisis after crisis. J.C. Leyendecker shared his palatial estate with 
brother, Frank, and both Post artists had studios in their New 
Rochelle mansion. Eugene Iverd had the unwavering support of 
his faithful brother Carl. Often Carl would come to visit and the 
two brothers would spend long hours in the studio while George 
pointed and Carl watched. Often Carl would come up with ideas 
for George to paint and either send them by mail or wait until he 
saw him in person. 

George had ideas for pictures pop into his mind wherever he 
looked. He kept a sketch pad by his bed and often got up in the 
middle of the night to sketch some idea he had dreamed of or 
thought about, so as not to let it escape before morning. During 
one Christmas visit from Carl, the brothers were driving downtown 
when George remarked, "Carl, look! Over there's a Post cover." 
"Where?" asked Carl, "I don't see any Post cover." "There, across the 
street, there's a boy walking along the street with a snow shovel. I'm 
going to paint him ringing a doorbell, looking for work, with a little 
dog at his heels." And the following January, the idea appeared as 
a Post cover. 

One time in a pensive moment, Carl asked George, "When you 
are gone, how do you want to be remembered?" With no hesitation 
Iverd replied, "As someone who left something for other people to 

During the years of teaching in the schools of Erie and painting 
in his studio, George also became popular as an entertaining speak- 
er for groups in the community. He dubbed his presentations 
"Chalk Talks." Using a technique he developed in the Army while 
entertaining wounded service men, and armed with a box of chalk 
and a blackboard, George would ask a member of the audience to 
come up and place five dots anywhere they chose on a blackboard. 
He would then connect the dots and turn it into a drawing. He 
would delight and fascinate his audience with his quick wit as they 
watched drawings of his imaginative stories develop on the board 
as if by magic. 

1929 brought economic despair to many parts of the country, 
and although America was on the threshold of a great depression, 
George and Lillian were living a simple, happy, nearly Utopian life. 
Their four-year-old daughter Ruth was the center of their universe 
and a frequent model for her talented father. In addition to artistic 
success and marital happiness, more good fortune entered their lives 
when baby George Iverd was born to them in 1928. 

Life seemed so fuU of promise and the artist's pictures now 
reflected two angelic children. Little George had deep set Ericson 
eyes and peered out of many of Iverd's canvases with the beauty and 
love that only an artistic father could create. 

Many hopes and dreams were pinned on this little boy, who was 
identified at an early age as intellectually gifted. He was carefully 
nurtured within the family, and his life was enriched by the love, 
devotion and attention that his sister Ruth also received. 

Unfortunately, George Jr. outlived his father by only eight years. 

36 Illustration 

Farmers Wife 



fanner's Wife 9/35. 

Saturday Evening Post 11/3/34. 

Saturday Evening Post 1/7/33. 

Shorfly before his 16th birthday in 1944, he died a tragic death of 
cancer. His face and spirit, however, have been immortalized on his 
father's canvases. 

However, tragedy seemed a remote possibility to this happy 
young family in the middle 1920's and early 1930's. Teaching during 
the academic year, and visiting with parents and grandparents in the 
summer on the family farm formed the fabric of their lives. Family 
gatherings were celebrated with love, laughter, nostalgic conversa- 
tions, family meals and photo sessions. The times together included 
long hours of story-telling, in which tales of family adventures and 
humorous anecdotes from past visits became legendary. Requests 
were called out, "Carl, tell us the story about your airplane," 
"George, teU us that story about your dog Gyp," "Helen tell us the 
story about the time Carl stole your chocolate covered cherries." 
Each year the stories became more and more exaggerated and the 
drama and humor increased. Casual occurrences became classic 
sagas and good stories became legends. 

Perhaps this strong story telling tradition fed Iverd's artistic cre- 
ativity as well. His most successful paintings during this period, 
and indeed throughout his life, told entire stories in a single image. 
His paintings invite viewers to see and feel the life story of the 
individual being portrayed. While many artists of this period "told 
stories" with their paintings, including Norman Rockwell, Iverd had 
the ability to infuse the viewer's mind and heart with appreciation, 
philosophic humor and a sense of having intimately known and 
appreciated the people in his paintings. 

During the winter of 1929 Iverd took his family to East 
Lansing, Michigan, to visit his brother, John Albert, who was living 
there. John's daughter, Esther, remembers watching incredulously 
as Iverd's hands shaped remarkable snow sculptures as he played 
in the snow with the children. Iverd loved to visit his brother and 
admire his successes, while always finding time to do a few family 

In the 1930's life was going well for Eugene Iverd. The country's 
economic position was improving, and George was selling his work 
and becoming increasingly well known as one of America's out- 
standing cover artists. Locally he sold many landscapes, which were 
his first love, but illustration was putting food on the table, money 
in his pocket and placing his name in the public eye. During this 
period, while still working as a teacher and receiving a steady pay- 
check, Iverd's work was bringing in enough income that he began to 
entertain hopes of retiring from the school system to devote himself 

entirely to his illustration and ultimately to a fine arts career. 

Two major concerns in Iverd's life caused the future to be uncer- 
tain. One was that photography would usurp the role of artists in 
commercial work, and the second more troublesome problem was 
the increasing pain in his hands. As early as 1926 Iverd wrote to 
his mother mentioning the struggle he was having with his recur- 
rent pain, but in trying to protect her from worry he minimized 
his discomfort. Doctors had diagnosed him as having rheumatoid 
arthritis. Without his hands, how could he work? Without the use 
of his hands, the vehicle through which his creativity was realized, 
all the joy in his life would disappear as well as his income and 
financial stability. 

Facing the possibility he might be forced to find another avenue 
of support, Iverd vowed not to allow himself to indulge in self-pity. 
Rather, he began to look for alternative ways to put his creativity 
to work. For years he had enjoyed the world of literature and 
thought that perhaps he could turn his energies into writing. So 
he set about writing short stories in an effort to sharpen his new 
skill. Unfortunately, none of his stories are still in existence, but his 
youngest daughter, Jean, remembers being given the opportunity to 
read them as a teenager. 

Because he was always a generous and caring individual, Eugene 
Iverd gave away many paintings during his lifetime. Local organiza- 
tions were frequently the recipients. He donated 7 paintings to the 
Erie Community Chest. One original painting of a young girl with 
a butterfly, originally published as a Ladies Home Journal cover, was 
given to the Presbyterian Church of the Covenant where he was a 
member. He also contributed two major paintings to the Shriner's 
Hospital in Erie. He gave paintings to several schools and even to a 
surgeon who removed his appendix. 

He often sent prehminary oU sketches with short narratives to 
magazines for approval before doing the final painting. Many of 
these are still in existence, and although they were done quickly and 
somewhat haphazardly, they exhibit a wonderful playfulness that is 
not often found in his finished canvases which tend to be a bit 
more studied. 

Iverd did a series of 33 full-page ads for Monarch Foods. For 
these he also wrote the accompanying copy, feeling that he wanted 
to have a hand in the complete presentation of his work. Monarch 
Foods accepted Iverd's descriptions of his works and used them in 
lieu of having a professional advertising writer, feeling that Iverd's 
own words best described the paintings. 

Illustration 37 

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Norman Rockwfell 

J.C. Leyendecker 

Gil Elvgren 

James Montgomery Flagg 

Harvey Dunn 

Enoch Bolles 

Edwin Austin Abbey 

W.H.D. Koerner 

Robert iVIcGinnis 

Earl iVIoran 

George Petty 
iVIcCleiiand Barklay 
Haddon Sundbiom 
Leslie Thrasher 
Revere VUistehoff 
Alberto Vargas 
Charles Sheldon 
Frank Schoonover 
Dean Cornwell 
Steven Dohanos 

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"Faith in You" circa 1930s. 

On one occasion The Saturday Evening Post returned a completed 
painting with a rejection slip. Iverd promptly recrated the painting 
and sent it off to another publisher. Within a few days, he received 
a letter from the Post requesting the canvas be returned to them 
as they had changed their minds. Knowing Norman Rockwell was 
paid more than he or any other artist, he responded that he had 
already submitted the work to another publisher and furthermore 
he wasn't sure if he could continue to work for them because he 
could get a higher price elsewhere. Thereafter, Eugene Iverd received 
the same compensation as Norman Rockwell. 

Iverd never met Rockwell, or for that matter any of the other 
famed illustrators of his day. Years after his death, Iverd's brother 
Carl paid a visit to Norman Rockwell to discuss his brother's work 
and to hear Rockwell's opinion of Iverd. Rockwell said he never 
knew Eugene Iverd personally but he had always admired his work 
and kept a file of all his published pieces. Apparently, Iverd had little 
time in his busy world for collaborating with other artists, although 
Rockwell was keeping an eye on the competition. 

In addition to the 29 Saturday Evening Post covers, Iverd also sold 
10 covers to the Christian Herald, 4 to the Ladies Home Journal, 
9 covers or supplements to Reveille, and either covers or adver- 
tisements to Good Housekeeping, Esquire, Elks, Successful Forming, 
Progressive Farmer, American Magazine, Delineator, Farmers Wife, 
Farm Journal and McCalls. The largest single group of advertise- 
ments were done for Monarch Foods (33) but he also did 18 ads for 
Campbell's Soup, one advertisement for Wrigley's gum, one paint- 
ing for lodent toothpaste, another for crayola crayons, and provided 
artwork for other products as well as calendars, book and multiple 
story illustrations. Iverd was increasingly in demand as a story and 
book illustrator. He illustrated 2 children's books and did multiple 
illustrations for short stories for a number of prominent writers, 
including Boothe Tarkington. During a 10 year career Iverd pub- 
lished over 156 works of art. 

The family who owned the Campbell Soup Company was so 
taken with his paintings that they commissioned him to come and 
stay in their home to paint portraits of their children. He was 
extremely impressed with this family and came home from his 
visit wanting finger bowls on the table and bearing a beautiful 
silk nightgown for Lillian. Lillian greeted both surprises with a 
bit of scorn, not liking the "high falutin" ways of the people who 
used finger bowls. And although the nightgown was lovely, it was 
ridiculously expensive and totally unneeded. She never forgot her 
early years when nice things were difficult to come by, and for that 
reason the nightgown was returned. 

The years between 1926 and 1936 were very successful and 
extremely productive for Eugene Iverd. In the studio above Sevin's 
Art Shop in downtown Erie, he spent many hours painting to his 
heart's content. The ideas kept flowing in from his family and 
many friends. Work in the school and the community provided 
a constant stream of images that were transformed into paintings 
as fast as his hands and his brushes could create. Iverd constantly 
returned to the beauty of human beings and nature. In his life 
he saw beauty everywhere, in all types of people, infants, adults, 
the elderly, including the disabled. He saw beauty in the wonderful 
surprises created by nature - from autumn leaves to butterflies 
and birds. One Iverd student, who also was a baby-sitter for the 
children, remembers a day watching Iverd point in the backyard. 
She and Ruth were observing Iverd painting a sprig of delphinium. 
A bumblebee buzzed nearer and nearer and, spotting the painting 
of the flower, blundered into the painting and became stuck. 
Obviously, even the bees were struck with Iverd's talent for realism! 

His wife Lillian continued to delight his eye with her physical 
as well as her inner beauty. When they had been married for 12 

40 Illustration 

years he wrote her a love letter honoring their commitment to one 
another. He clearly thought he was extremely fortunate to have such 
an extraordinary mate in his life. He did many portraits of her and 
used her as a model in some of his commercial work as well. 

Iverd began to command increasingly higher commissions for his 
work. Generous by nature, he was delighted to be able to send larger 
amounts to his mother, who he and his brothers had supported 
following the death of their father in 1921. He brought Mother 
Matilda and his youngest sister Helen to live in Erie. He helped set 
them up in housekeeping and found Helen a job. He then bought a 
new car for Helen so that they could do their errands and explore 
the city. 

By 1933 Iverd's success had reached the point where he could 
afford a new home. He designed a French country style house on 
the crest of a hiU on Gordon Lane. The dwelling had a large studio 
space as well as separate quarters for a live-in maid. Although the 
house was new, he wanted to make it look old and settled. He 
searched far and wide for a sagging ridge pole for the roof The 
builder and many others thought him strange, building a new house 
and wanting it to look old. 

At the end of the 1932/1933 school year Eugene Iverd resigned 
from the Erie school system and moved his family to their new 
home, where they celebrated the birth of their third child, a daugh- 
ter, Jean. His work continued to reflect his growing family, often 
with paintings showing three children, a big sister, younger brother, 
and a baby or toddler. With the increased income the family could 
afford full-time maid service, so Lillian was free to assist him in the 
studio by helping to get his models dressed and posed correctly. 

Although Iverd's position in the school system was finished, his 
commitment to the community continued. Iverd always felt he had 
to continue teaching in some fashion. He loved to share the excite- 
ment of learning about art with students. He frequently said that 

all teachers are also learners and teaching keeps one fresh. Saturdays 
were art class day in the new house on Gordon Lane. A steady 
stream of children and young adults flowed in and out of his studio 
where he provided free lessons and supplies. He also taught art to 
adults in night school. In turn he was able to look at life through the 
freshness of their vision. It gave him endless ideas and energy. His 
students were part of the lifeblood of his art. 

He reveled in the company of young people. On one occasion he 
spotted a local Boy Scout troop on an overnight camp-out near his 
house. He quickly invited the troop for a pancake breakfast in his 
backyard. He had great respect for the Boy Scouts as an organiza- 
tion, and a number of his paintings featured the Scouts. 

Once or twice a year Iverd would pack a selection of paintings 
into his car and travel to art shows in Philadelphia and Pittsburgh, 
trying to become well known in these art circles. He took what 
he felt were the best examples of his fine arts, landscapes and 
other impressionistic paintings. Some of his paintings sold, others 
returned home, increasing his optimism about a future fine arts 
career. At the beginning George enjoyed having his studio at home. 
However, some time later he confided in Carl telling him that he 
was beginning to regret having his workplace in his residence. He 
found it difficult to refuse his children's requests to be with him and 
the frequent interruptions slowed his work. 

By 1935 Eugene Iverd was becoming a household name, and his 
signature so identified the artist that he even began signing his 
landscapes with that name. Despite his heavy schedule he always 
made time for his growing family, his friends and his community. 

The Final Days 

At this time in George Ericson's life he felt that he was a complete 
success both professionally and personally. The only disturbance 
was the nagging, increasingly severe, occasionally incapacitating 

Don Daily 

Sam Norkin 

Ted CoConis 

Robert Baxter 


'Bimie Juths 
Man Mda ofM'Ji *S *:H 
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Glenn Harrington 

C. Michael Dudash 

Kazuhiko Sano 

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Bart Forbes 

Sandy Kossin 

Herb Tauss 




Barney Plotkin 
Bernie Fuchs 
David Grove 

Mitchell Hooks 






C O I 1 li C T I K {. \\ S 


Joel Iskowitz 

Robert Maguire 

Robert Risko 

Ann Meisel 

John Solie 

Daniel Schwartz 

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Original Illustration Art ^1 
from 1950-2000 H 

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(845) 246-0952 

Illustration 41 

arthritis. Determined to do all he could to keep his hands function- 
ing, he decided to try the Mayo Clinic in Rochester, Minnesota. 
They had cured his mother of cancer, and perhaps they could help 
him also. In the summer of 1935 when he traveled with his family 
to the Midwest, he visited the famous clinic. At that time gold injec- 
tions, which were highly experimental, were prescribed. When they 
headed back to Pennsylvania after the vacation, he took the vials of 
gold with him for his family physician to inject. 

The periodic injections began, but as the cold and damp Erie 
winter of 1935 continued, the pain worsened and became more 
disabling. George and Lillian left their children with his mother and 
sister Helen and journeyed south to St. Petersburg, Florida, hoping 
to find relief in the warm weather. In the spring they returned 
to Erie but he was still struggling with the pain and increasingly 
fatigue slowed the force of his vitality. 

Springtime was birthday time for his daughters and a big third 
birthday party was planned for Jean on May 15 with all the family 
coming together to dance around a maypole. A few days later 
George visited his physician for another gold injection. As he left for 
the doctor's office, he wearily remarked, "These gold shots are going 
to kill me some day, Lil." When he returned home he collapsed as 
he came into the house. 

Lillian helped him into bed and called the family physician, his 
mother and Helen. His daughter Ruth had no party that year on 
May 24 because her father was simply too ill and the whole house- 
hold centered around him. He continued to worsen during the next 
week. Helen, who worked for a local physician was not satisfied with 
his condition and called another doctor who came to the house and 
advised immediate hospitalization. His diagnosis was pneumonia, 
later complicated by septicemia. 

Iverd's brother, John Albert, and his family happened to be visit- 
ing at the time. They extended their vacation to be with the family. 
Iverd's condition worsened. The gold injections had so impaired his 
immune system that his body simply could not fight the ravages 
of the disease. 

All the best supportive treatments were tried including putting 
him in an oxygen tent. Sadly, antibiotics, which might well have 
saved his life, were not discovered until the following year. His 
brother, Carl, always his faithful friend, supporter and confidant, 
came by train as quickly as he could from Minnesota. Eugene Iverd 
lived long enough to say good-bye to his family and ask Carl to be 
a father to his children. On June 4,1936, George Ericson, beloved 
by family, friends, students and the community, and Eugene Iverd, 
renowned cover artist, was dead at the age of 43. The news of his 
passing sent Erie, Pennsylvania and his admirers, friends and family 
into a period of mourning, depression and reflection. It is a measure 
of his importance to the city and to the country that his death was 
front page news. 

Many of us hope we will be able to leave future generations 
something to remember. Most of us have a few material things, 
some fond memories and a legacy of love and devotion to leave our 
children, grandchildren and future generations. But some fortunate 
people who have been gifted in art, music, literature or science 
leave not only personal gifts to their families, but more importantly, 
treasures that will enrich the rest of the world forever. George 
Ericson/Eugene Iverd was one of these gifted people. And because 
he paid a short 43 year visit to this world, he made all of our lives a 
little brighter and more meaningful. 

Eugene Iverd never reached the legendary heights of some artists. 
It is likely that had he lived his normal life span, he would have been 
much more widely appreciated. His genius at depicting the essence 
of personality, at telling a complete story with a single image, and 
his immense productivity argue that he might have been as well 

42 Illustration 

known as the best of the Post cover artists. Iverd painted from a 
deep creative drive and he painted for others to enjoy. He chose his 
models carefully, looking not only for beauty, but also for unique- 
ness and the inner spirit of the person. His compassion allowed him 
to look deeply within others and his faces portray the sorrows, joys, 
humor, courage and hopes of his subjects. 

Many people compare his illustrative work with Norman 
Rockwell and other great Post cover artists. Art lovers compare his 
landscapes with the finest American landscape artists, and some in 
the art world compare his impressionistic work with the very best of 
the American and French impressionists. 

Several years after Iverd's death the superintendent of Erie 
schools was asked for information about Eugene Iverd. He wrote a 
sketch of Iverd's life and inserted it into George Ericson's personal 
file. His description read: 

"Some hint of the character of the man has already been given. 
It would require much time and space and much greater ability 
than that possessed by the writer to do justice to his personality 
and character. He possessed great personal charm. He combined a 
rugged honest of thought with tactful expression. Those who knew 
him well and considered him a great artist, felt sincerely that his 
kindness, his sincerity, his interest in his fellow man, his honesty, 
his frankness and his practical goodness made him an equally great 
man. His death on June 4, 1936 at the age of forty-three cut short 
a brilliant professional career, broke a most delightful family circle, 
and plunged his home city into deepest grief." 

In recent years, the name of Eugene Iverd has surfaced as one 
of America's greatest and most admired artists and illustrators. His 
work has been rediscovered and is once again being published, 
appearing in dozens of calendars featuring the artists from the 
Golden Age of American Illustration. Despite the prominence of 
Rockwell and Leyendecker, nearly all of these calendars present at 
least one or two of Iverd's works as well. Examples of his work have 
also been reproduced recently on cups from fast food restaurants, 
sweatshirt transfers, postcards and notecards. Art lovers and collec- 
tors continue to covet the work of this American talent. Eugene 
Iverd had indeed accomplished his goal in life, to be remembered as 
"someone who left something for other people to enjoy." • 

© 2002 by Jean Ericson Sakumura, Dr. Donald Stoltz and Lynda Farquhar 


Jean Ericson Sakumura was bom in 1933 in Erie, Pennsylvania, the youngest child of 
George and Lillian Ericson. She was named Mary Jean Ericson and always called simply 
"Jean. "Jean was just three when her father died. To prepare this material Jean wrote for 
many documents — birth certificates, school transcripts, military records, personnel records, 
and poured through old family documents. From these records she called the bones of this 
story, but its flesh and heart are from family love. In addition, many relatives sent incidents 
to include. Jean is a retired nurse and health care administrator who lives in Overland Park, 
Kansas with her husband, Joseph Sakumura, Ph.D. They have four adult children and fifteen 
grandchildren. It was her grandchildren's request for her to "write a book about Eugene Iverd" 
that first started her thinking about this project. 

Dr. Donald R. Stoltz was born in Philadelphia, Pennsylvania and was educated in that city 
He has been a practicing physician in Family Medicine in Philadelphia since 1963. Since his 
boyhood, Dr. Stoltz has admired the art of Norman Rockwell and together with his brother 
Marshall, acquired an extensive collection of Rockwell art. In 1970 the brothers met Norman 
Rockwell and shortly thereafter co-authored the very successful three-volume set of books 
entitled "Norman Rockwell and the Saturday Evening Post." This set has recently been 
reprinted as one large coffee table volume. The brothers also authored "The Advertising World 
of Norman Rockwell." In 1976, the Stoltz brothers founded the Curtis Center Museum of 
Norman Rockwell Art in Philadelphia, and Don became Chairman of the Board. 

Lynda J. Farquhar, Ph.D. is Eugene Iverd's oldest granddaughter. She is the daughter of Ruth 
Ericson Sonnenberg, George Ericson's oldest daughter. She is married to William W. Farquhar, 
Ph.D. and is the mother of two children, Lisa and Shauna, and six step children, Roger, Linda, 
Jacquie, Jim, Steve and Mark. She has eleven grandchildren. She has had a long career 
as an administrator in the College of Human Medicine and is a full professor in the medical 
school. She is also an avid collector of Iverd works and is committed to preserving his legacy 
She has embarked upon a quest to collect all the magazines that were graced by Iverd covers, 
currently she has 59 with less than a handful to go. 

Eugene Iverd Published Work 1924-1936 

Magazine Covers 


Date Title of Cover 

3/13/26 The Accordion Serenade 

4/17/26 The Lost Baseball Game 

1/15/27 Snow Fort Under Siege 

6/25/27 Last Day of School 

7/30/27 Fishingfrom the Raft 

10/1/27 View from the Telephone Pole 

10/29/27 Witch in Demon Skies 

3/3/28 Snowskier Tumbles 

7/28/28 The Hand Made Boat 

9/15/28 A Kite to Catch the Wind 

11/17/28 Uncle Tom's Cabin 

2/4/28 The Ice Boat Run 

1/19/28 Clearing the Ice 

4/26/30 It's a Home Run 

11/15/30 TheFlyingTackle 

1/3/31 Snow Shoveler for Hire 

2/21/31 Campfire on Winter Lake 

8/27/32 The '^oung Scientist 

6/11/32 Day Dreamer 

1/7/33 Moonstruck 

3/24/34 The Portage 

6/24/34 Iverd's Boats 

7/21/34 The Skinny Dippers 

8/18/34 The Star Pitcher 

10/6/34 Dueling Harmonicas 

11/3/34 The Pumpkin Lighting 

11/17/34 Hail to the Football Hero 

6/22/35 Swing to the Skies 

8/1/36 One Last Summer Day 

Date Title of Cover 

3/15/24 The Woods are Lovely 

11/22/24 Evening Prayer 

1/17/25 Homeward Bound 

1/31/25 Old Mill at Sundown 

9/11/26 Ladies of the Forest 

12/27/26 Thanksgiving Prayer 

12/10/27 Grandmother Remembers 

10/35 Our Father who Art in Heaven 

12/36 Children in the Christmas Glow 


Stream in Winter 

Date Title of Cover 

7/36 The Crest of Daisy Hill 

Date Title of Cover 

11/28 The Football Hero's Hug 

Date Title of Cover 

4/32 Somday I'll be a Pilot 

1/33 Counting the Days 








Title of Cover 

Hark the Herald Angels Sing 
The Butterfly Girl 
His First Day of School 
"He Came!" 






Title of Cover 

Xmas Light in Children's Eyes 

Title of Cover 

Swimming in Green Waters 
The Young Chef 
Out to Play Football 


Date Title of Cover 

10/36 The Apple Girl 


Title of Cover 

Family in Flower Fields 
Going Fishing with Grandpa 
Crossing into Safety 
Paul's Plow Horse 

SEP 2/2/29 
SEP 3/2/29 
SEP 4/27/29 
SEP 6/22/29 
SEP 7/20/29 
SEP 11/9/29 
SEP 1930 
SEP 1930 
SEP 2/1/30 
SEP 3/1/30 
SEP 5/24/30 
SEP 6/21/30 
SEP 8/16/30 
SEP 9/13/30 







Date Title of Cover 

9/35 Love Letters 

10/37 AWalk in the Forest 


Date Title of Cover 

8/1/27 Bath and Shower 


Date Title of Cover 

5/8/19 "Watching, WaiUng, QuiteAlone" 

"These are the Times that 

Tiy Men's Souls" 

"Victoiy Parades of the 

First Division" 
5/22/19 "Atta BOY 11 


Shows troops going through 

mountain pass 

Shows Indian Scouts looking 

down on river 
1919 "Beyond" shows man and woman in 


"His Heritage" shows grandfather 

watching grandson looking at boat, 

"the League of Nations" 



Date Title of Advertisement 

SEP 1929 Fresh from the Garden 
SEP 1929 Laughing Boys Faces 
SEP 1/5/29 Sleigh Bells Ring 

The Model Airplane 
Climbing the Ski Hill 
Cane Pole Fishing 
Childhood and Sunlight 
Here Comes the Food 
Asleep at His Post 
Strong Men 
Tom, Dick and Hariy 
Boy Gazing into Fire 
The High Wheeler 
'Taint Cold Come on In 
Scout Camp Lunch 
The Globe Spinners 
Get your Circus Tickets 

SEP 10/11/30 May we have a Bite to Eat 

SEP 11/8/30 Football Tussled 

SEP 12/6/30 Grandfather's Workshop 

SEP 1931 Cowboys and Indians 

SEP 1931 Monarch Makes the Best 

SEP 1/3/31 Resolved Next Year that 

SEP 1/31/31 The Snow Globe 

SEP 2/28/31 The Fish Wouldn't Bite 

SEP 3/13/31 Grampa and Scout 

SEP 4/25/31 Can Boys Stay for Dinner 

SEP 5/23/31 Junior Patrol 

SEP 6/20/31 Boys Wanted 

SEP 7/18/31 The Treasure Hunters 

SEP 8/15/31 Pillow Fight -Wake Up 

SEP 10/10/31 The Fort Builders 

SEP 12/31 Boy with Lantern 


Date Title of Cover 

SEP 3/26/32 We Walked in Fields of Gold 

McCalls 4/32 We Walked in Fields of Gold 

Delineator 4/32 We Walked in Fields of Gold 

SEP 5/7/32 Girt with Yellow Scarf 

GH 7/32 Girt with Yellow Scarf 

SEP 6/11/32 Fence Sitters 

SEP 8/13/32 The Perfect Oval 

SEP 10/29/32 The Pink Hair Bow 

SEP 5/13/33 Girt with Blue Coat 

SEP 5/26/33 Does He Like Butter Too? 

SEP 6/24/33 Sunshine Girls 

GH 6/33 Sunshine Girls 

SEP 7/22/33 The Great Lakes 

Delineator 8/3 The Great Lakes 

SEP 8/22/33 Surf and Sunshine 

LHJ 11/33 The Football Boyfriend 

SEP 10/14/33 The Football Boyfriend 

SEP 11/11/33 I'll Race You Home 

SEP 3/31/34 Little Beauty and Soup 

GH 4/7/34 Little Beauty and Soup 

McCalls 3/34 Three Kids on a Sled 

SEP 1/26/35 Siblings and Soup 

SEP 6/22/35 The Straw Hat Summer 

SEP 9/14/35 Like a Bowl of Sunshine 


Delin 10/32 Boy with Tom Sleeve 

Delin 1/33 Girl with Tom Sleeve 

Delin 2/33 Boy with Airplane 


SEP 3/14/36 Blonde Braids 

SEP 9/19/36 Crossing Guard 


Angert, Sheila Doyle 

Ardington, John 

Bakely, Nev^ton 

Bartley, Eugene 

Bello, Dick 

Bengston, Signe Erickson 

Berman, Lucille Stafford 

Belts, Robert 

Bingler, Margaret Abbott 

Bliven, Andrev* 

Bliven, Floyd, Jr 

Brook, Allene Skinner 

Burton, Emma 

Carlson, Don 

Chrisman, Earl 

Coffen, Louisa Bliven 

Danbom, Marion Bole 

Dear, Elmer 

Dear, John (Dick) 

Dick, Marilyn 


1. "Admiration" 1937, K 32601 (girl gives boy a flower in garden) - published as advertisement 

2. "Children Wading" (kids wading in a forest stream) - published as a calendar 

3. "Faiiy Tales" (little girl reading a book called "fairy tales") - published as a calendar 

4. "Faith", K 32484 (boy on top of hill with dog) - puzzle and advertisement for toothpaste 

5. "Happy Days", 867K (girt pins flower on boy) 

6. "Huckleberry Finn" (boy on raft floating down river) - published as a calendar 

7. "inspiration" G 18331 (young artist at work) 

8. "Just Wait 'til I Grow Up" G 13329 (sister tags after big brother who is going fishing) 

9. "Looking Fon»ard", G 13258, 11/4/33 (boy bids farewell to parents) 

10. "New England Fishing Boats" 890 (boats at harbor) 

11. "Old and New" 8/6/35, 1/29/36, K28585, K 20403 (grandfather, boy look at model plane) 

12. "Pals" 114. 8293 1 ~ L 14332 (boys fly kites) 

13. "Patience" 675, 1/3/35 K 24674 (brother fishing at edge of river, sister behind him) 

14. "Shady Brook" 807, 8/6/35, K 20402, 9/21/35 (fall scene with green brook) 

15. "These Are Our Treasures" (boy and girl coming home from school) - published as a calendar 


Community Chest 

Old Newsboys 

Unto the least ofThese 

Our Daily Bread 

Sure I'll Share 

Faith in You 


Our Father Who Art In Heaven 

Year Description 

1927 Newspaper boy on cmtches. 

1928 Three babies in apple baskets. 

1929 Boy with slice of bread. 

1930 Two boys with apple. 
193? Girl with ragdoll. 
193? Boy and girl. 

1935 Child praying. 



Erie Day School 


Erie Art Center 


Erie Historical Museum 


Waseca Cc Historical Society 


Erie Historical Museum 


Ladies Home Journal 

"One Way Love," by Margaret Runbeck, 6/33 

1. One Way Love 2. Her Mother by the Week 3. Her Father for All Time 4. The Selfless Heart 

"Susie's Little Play," by Booth Tarkington, 2/35 

1. Susie's Little Play 2. Ladies & Gentlemen 3. Virginia 

"The Birthday Party" by James M. Cain, 5/36 

l.The Birthday Cake 2. Ice Cream Truck 3. Oriental Lantern 4. The Kiss 

"The Little Miracle," by Zoe Akins, 4/36 

1. Martha 2. Marianne 3. Johanna 4. Anna 5. Heaven is God's Throne, Earth is His Footstool 

Saturday Evening Post 

"Say An Revoir," by Owen Johnson, 10/22/32 

1. Say An Revoir 2. Deep in Thought S.The Bully 4.The Knock-Out 

"The Jolt", by F Grinstead 

l.The Jolt (boy on windowsill looks out over city) 

American Magazine 

"Nothing to be Afraid Of" by John Wheeler, 6/33 

1. Whistling in the Dark (boy & dog walking through graveyard) 


"Whispered in Heaven" by Margaret Runbeck, 4/35 

1. Hand in Hand 

Dvjyer, James 

Ericson, George, Jr. 

Ericson, Helen 

Ericson, Lillian 

Fairgaim, Oscar 

Gaimler, Merle 

Gillette, Bob 

Grove, Fred 

Guthrie, Richard 

Haendler, Phillip 

Happen, Charles 

Harrigen.Ann Schrecongost 

Harrington, Don 

Hartline, Melvin 

Hoffenberg, Marvin 

Hoffher, Billy 

Jones, Frederick 

Kime, Emma 

Kom, Louise Kingbury 

Landefeld, Fred 

Maclnncs, Robert 

McCartney, Geraldine Prescott 

McLeod, Henrietta Murry 

Mercer, Harvey 

Mercer, Jack 

Mink, Henry 

Nolan, Catherine Tellers 
Petre, Joan 
Phillips, Parke 
Price, Tom 
Reed, Emaline 
Sakumura, Jean Ericson 
Schauer, Edith Hopkin 
Schiindvjein, Lorrine Dart 
Schrecongost, Jack 
Scott, Margaret Bliven 
Selden, Dudley 
Selden, George 
Sola, Oliva 

Sonnenberg, Ruth Ericson 
Stackhouse, Nancy 
Stewart, Emma Morehouse 
Swartz, Frank 
Tanner, Joe 
Thomas, Edith Bates 
Walker, William 
Warrington, Earle 
Weaver, Dorothy 
Weber, Elmer 
Zaunbeiser, Betty 
Zum, Frank 
Zum, Sally 

Book Reviews 

Norman Rockwell: A Life 

by Laura Claridge 

Random House, 2001 

The world knows Norman Rockwell 
as the man who embodied the quali- 
ties his paintings seemed to preach: 
he was a paragon of family values, 
an upstanding citizen, a country boy, 
commercially successful, a supporter 
of The Saturday Evening Post's con- 
servative politics, and a patriotic 
artist who was opposed to modern 
art. These impressions have become ingrained despite copious evi- 
dence to the contrary: actually, he was born in New York City, 
his success was clouded by heavy financial burdens; his first wife 
committed suicide after divorcing him to run off with a pilot; he 
frequently escaped to Europe or Hollywood to avoid deadlines; he 
spent years in psychotherapy; he held deeply liberal political views, 
and so on. To those who really knew something about Rockwell's 
life, the bursting of these myths has long been overdue. 

The new (and not just new, but the very first) full biography of 
Rockwell provides welcome relief from the irritating pieties that 
pass for (both pro and con) about the best known illustrator of 
all time. Claridge rightly points out that NR wasn't secretive and 
plenty of this information was available before, even in Rockwell's 
autobiography, but people chose to ignore what didn't fit into the 
Rockwell legend. Her interviews with his three sons reveal their 
deep resentment of the mythologized Rockwell: they generally felt 
neglected by their father, who worked seven days a week (even 
Christmas), never did any household chores, and rarely played with 
them. They were shocked to learn from a published interview that 
he had been married once before - for 14 years. 

An interesting thread Claridge brings out is that as children, 
Norman and his older brother Jarvis were channelled into con- 
trasting roles. Norman felt his lack of athleticism as a pointed 
inadequacy in contrast to Jarvis's successes in that area, describing 
himself as "a beanpole without the beans" (which Claridge inter- 
prets as reflecting on his sense of his meager masculinity). Claridge 
states that their mother Nancy seems to have held a preference 
for Norman's artistic temperament however, which manifested itself 
early and which gave some support to her sense of her own aristo- 
cratic origins. The punch line comes several hundred pages later. 
Once Jarvis dies, we learn that he was "commonly known as a mis- 
anthrope." This stands in sharp contrast to the reports of Norman's 
company being enjoyed by his neighbors, models, and photogra- 
phers, who express almost unequivocal admiration of him. The 
exception was probably his art directors, who didn't always get what 
they ordered on schedule. 

It's disheartening to find out that Rockwell took on a crushing 
load of advertising work because he felt he had to. Though he was 
no tightwad (he had a photographer on call at all times, frequently 
switched studios or went travelling, and framed his pictures before 

shipping them off), his chronic money problems were much more 
a symptom of his compulsive generosity. The number of relatives 
who mooched off him is grotesque; his first wife worked her way 
expensively upward in New Rochelle society (and was conned out 
of $10,000 in the 1920s); his second wife's long descent into alcohol 
and depression required very expensive moves, therapy, and hospi- 

Claridge details NR's dilemma in chronically accepting more 
work than he could handle, and then floats some dubious theories: 
the fear of money running out (but then he could have just raised 
his rates), staving off feelings of inadequacy (this may have been 
true in 1920, but he was still piling on the work in the 1950s, 
when he must have realized how adequate he was), and passive- 
aggressively retaliating against his public (does she know something 
we don't? - if so, she doesn't tell). 

Rockwell's inability to say no, though nearly reflexive, was more 
likely to have been rooted in the fear it would close doors by insult- 
ing his potential clients. He would have seen this happen to other 
freelance illustrators. Later in the book, Claridge understands this 
very well: "given his strong disinclination to hurt anyone or to give 
offense needlessly." The silver lining to this weakness, which she 
acknowledges, is that "he seemed constitutionally unable to give less 
than his best." Maybe Norman couldn't trim the fat of his spending, 
as Claridge claims, but his inability to trim the time he spent on 
each job was a much greater factor in complicating his crowded 
schedule. His public was and is the beneficiary; his unwillingness to 
cut corners shines out of every picture. 

Despite her success in smashing the stereotype, this is a flawed 
book, perhaps deeply. If she's going to be an iconoclast, she has 
to be able to back it up. Claridge is breezy with her footnotes, 
and her assertions are frequently unsubstantiated. Her approach is 
psychological, and often this amounts to running various theories 
up the flagpole, some of which contradict others. Claridge spends 
much of her effort poking holes in the Rockwell myth, but little 
effort building a better one, so that we're left with an impression 
of a devious, heartless, pathetic artist who never painted what he 
wanted to paint. This can't be correct either! 

Claridge dramatically opens the book with a discussion of "The 
Art Critic", a Saturday Evening Post coyei published April 16, 1955, 
intent on revealing a psychological den of snakes. We learn that, 
from the point of view of NR's oldest son Jarvis, who posed for 
the art student, the picture is very unpleasant, as he is depicted 
staring at the cleavage of the portrait of a woman. . . who was posed 
by his own mother. Ouch. But the painting is patently not about 
Rockwell's own, or his famfly's, sexuality at any level, and his art is 
rarely "draw [n] from the murky regions of his unconcious." 

It is difficult for us (in a post-surrealist, post-expressionist world) 
to accept that NR's pictures are basically about what he shows. 
Claridge does point out the deep influence of Dickens in Rockwell, 
and NR could aptly be called a Dickens with a paint brush (though, 
granted, on Prozac). Like Dickens, Rockwell spelled out everything 
he wanted to say. You read between the brushstrokes at your peril. 
Trying to turn him into Faulkner with a brush does not work. Did 
the girl who posed for "The Black Eye" believe that NR selected her 
because he felt she was a violent person? I hope not. NR's models. 

44 Illustration 

as well as his audience, understood that they were play-actors tell- 
ing a more universal story. It's awful to hear that, for Jarvis, "we 
were living on the cover of a magazine." But other than in "The 
Homecoming", where his family is for once playing themselves, 
Claridge's recitation of their daily lives doesn't support Jarvis's view. 
With both artist and editors scrutinizing the images for palatability, 
the chance of Freudian slips was small. 

If Rockwell were more sensitive to his family's feelings, he would 
have realized that they would inevitably see "The Art Critic" as 
"cruel." And yet. . . Norman purposefully altered the figure of the 
art student away from a caricature of Jarvis in his beatnik days. 
"Finally, my father changed my face so much it hardly looks like 
me." Well? The den of snakes turns out to be an earthworm. 

What about this picture? Claridge presents a tangle of themes 
of illicit viewing, ancestral censure, family desire, the new and the 
dated, daring to judge, fathers vs. sons, and yielding up profes- 
sionalism to female pulchritude, as to what this picture might have 
meant in Norman's psyche. But again, the sexual joke is just a 
veneer. Here we have the burden of tradition, the old masters, 
intimidatingly staring down at him (Norman, not Jarvis), while he 
dares to stare back. Isn't this an embodiment of the "scared as a 
rabbit, bold as a bear" emotion he describes when bringing his work 
to the Post for the first time? The special reserve of will-power that 
NR was able to draw upon in order to dare to be great enabled him 
to stay at the top, while reinventing his career a couple of times, 
and keep his ideas fresh. It's one of the great themes of his life. 
Or, maybe it was a weakness. Claridge quotes several people as 
saying, "make no mistake, though; he always got what he wanted. 
He didn't let anything stand in his way." There is no question that 

Rockwell was ambitious, seeking success as an artist. But his goal 
was to renew the Golden Age of Illustration; it doesn't follow that 
he became an illustrator to get rich. 

There are factual gaffes sprinkled throughout. Nell Brinkley was 
not an actress; Fred Taraba is not an illustrator; Clyde Forsythe's 
comic strip was not called "Axel and Flooey"; Frederic Remington 
didn't do mammoth sculptures (neither the wooly kind nor the 
large kind). Together the minor errors add up to something impor- 
tant, or rather two things. Despite her copious research, there is 
evidence that the book was rushed to print. Perhaps the publisher 
insisted that the book come out while the travelling exhibition 
was still news, and decided to forego the pesky editing process. 
Whatever the reason, a round of fact- checking would have helped. 
More importantly, Claridge did not take the time to steep herself in 
the illustrator's culture - the attitudes, problems, and conventions - 
that constituted what was, at that time, almost a guild. 

The context of Rockwell's work within the arena of the move- 
ments of art in the 20th century has been examined, perhaps too 
often, not least by Rockwell himself, who sometimes doubted that 
he was on the right side of history. But his work in the context 
of other illustrators has rarely been analyzed, though it probably 
matters more; he permanently changed the profession. Claridge 
apparently doesn't have the background to delve into this, but that 
can be excused; few writers do. Surely she reaped a lot of such 
information that went unused, though. 

She must have noticed that Rockwell sought out important 
colleagues to bond with and compete with, from E. F. Ward to 
J. C. Leyendecker to Mead Schaeffer. Such "buddy movie" scenes 
are missing from the book. Ward is dismissed as being unable to 


Oil on canvas; 40" x 30"; 1924 
Cover; Popular Magazine 2/24 

Dust Jacket; The Back Beyond 
Book; Visions of Adventure : p. 97 

To be included in the forth- 
coming Catalogue Raisonne 

Schoonover Studios Ltd. 
proudly presents 

The Cronley Collection 

A unique selection of twenty one illustrations by eleven of 
Howard Pyle's most famous students, including Dean Corn- 
well, student of Harvey Dunn. These beautiful oil paintings 
feature subject matter from white water canoeing to sheep- 
herders, and from Colonial America to Spanish folklore. Visit 
the Web site for a complete listing and ordering a new bro- 
chure. Illustrators include: 

* Frank E. Schoonover 

* N.C.Wyeth 

* Philip R. Goodwin 

* Ethel Franklin Betts 

* Frank Stick 

* Harvey Dunn 

* Stanley Arthurs 

* William D. Koerner 

* Henry Soulen 

* Dean Cornwell 

* Walter Everett 

* Oliver Kemp 

1616 N. Rodney Street Wilmington, De 19806 

Ph 302-656-0135 

Illustration 45 

recognize the "whorehouse" that was their first studio, and is not 
even mentioned by name, though he was Norman's co-star at the 
Art Students League. Norman's socializing with the Schaeffers is 
duly noted, but again, little meat about their mutual artistic influ- 
ence. Norman must have known Dean Cornwell rather well; will we 
ever know what they thought of each other's work? She mentions 
that NR's "Breaking Home Ties" is modelled after the composition 
of Cornwell's Biblical "The Woman at the Well." But it just isn't. 
About other artists, she is often off-base. "Leyendecker's Arrow 
shirt ads, which practically created single-handedly the look of the 
Roaring Twenties' young man..." What about the more cutting-edge 
drawings of John Held, Jr? She characterizes Sargent's brushwork as 
"tightly controlled." 

On the subject of painting beautiful women, an important con- 
cern of the illustrator, Rockwell modestly affected a lack of ability, 
probably remembering his studio-mate Clyde Forsythe's admoni- 
tion to stick to what he did best, kids and dogs, rather than com- 
pete with the likes of Harrison Fisher. Amazingly, Claridge buys it. 
She concludes, "But the conventional pretty girl [image] frequently 
eluded him, and his odd unwillingness to represent this tradional 
female icon was noticed by his fans." If by conventional she means 
the vapid mannekin faces popular on Post covers prior to NR's 
years there, then she is right to cite his Leslie's cover of January 
1917, one of the weakest of his entire oeuvre. There are plenty 
of attractive women in Rockwell's work that show he got past For- 
sythe's idea of his limitations. But the pretty head alone didn't carry 
enough narrative freight to suit the admirer of Dickens and Pyle. 
It is more fair to say that Rockwell eluded the "pretty girl" pigeon- 
hole, that engulfed, for example, Coles Phillips, whose women were 
determinedly one-dimensional in their prettification. Claridge puts 
a hard curve on the contrast, pegging Phillips "determinedly single- 

minded in his eroticization" of women. Are we talking about Coles 
Phillips, or Gil Elvgren? 

Though she seems to be a fan, Claridge is shy about pronouncing 
Rockwell's greatness. On the magnificent prize-fighting picture for 
the story "The Sharpshooter," Claridge damns with faint praise: 
it "comes close to being museum-worthy" and she goes on: "the 
caricaturing ensures that we don't think he is taking himself seri- 
ously as a painter." Let's set this straight. Caricature doesn't negate 
painterliness, and why can't it be taken seriously? Virtually all illus- 
trators employ some degree of caricature in order to articulate 
or to underline a facet of the character. Besides, the Sharpshooter 
picture doesn't make her point since it is less caricatured than many 
of Rockwell's paintings, where the exaggerations do become the 
equivalent of purple prose. [Why doesn't Toulouse-Lautrec's or 
James Ensor's work ever have to endure this kind of criticism?] 
Rockwell didn't want us to think he was taking himself seriously? 
He can't have been that complicated. Claridge does pronounce 
judgement on some paintings, praising the Edison-Mazda ads, and 
"Playing Checkers". She side-steps the issue when there is contro- 
versy by reporting on public opinion, as with the "Murder in 
Mississippi" painting. 

I greatly looked forward to this book, and it goes a long way 
toward rectifying many misunderstandings about Rockwell. Unfor- 
tunately, the book reads as a draft. There are piles of interesting 
data, and flashes of insight, but finally, Claridge doesn't enable us 
to walk in Norman's shoes. Maybe that's asking too much. At least, 
we want to know how the life of the man informs the art, and even 
when Claridge gets it right, she often gets it backward, inspecting 
his paintings for signs of his inner life. We don't need a biographer 
to do that. • 

— Roger T. Reed 








uisiT US an the lueb uiuiui.uiDui-nRT.CDm 

46 Illustration 


Speak Softly and Carry a Beagle: 
The Art of Charles Schuiz 

November 3, 2001 - May 12, 2002 

The Norman Rockwell Museum at Stockbridge 

Original cartoon strips, studies, archival photographs 
and art materials will on be on view in this exhibition 
of the work of Charles Schuiz. The Norman Rockwell 
Museum at Stockbridge will be the first venue for this 
exhibition curated by the Minnesota Museum of Ameri- 
can Art and the Charles Schuiz Museum. The Norman 
Rockwell Museum at Stockbridge, Route 183, Stock- 
bridge MA 01262. 

For more information, call: 1-413-298-4100 

John Held, Jr. and the Jazz Age 

May 6, 2002 - September 8, 2002 

The Norman Rockwell Museum at Stockbridge 

Journey back to the days of flappers, jazz bands, and 
bathtub gin! More than any other artist of his time, John 
Held, Jr. expressed in his pictures the brash spirit of the 
roaring twenties. His highly styUzed drawings perfectly 
matched the aesthetics of the era, and as a result his work 
was in high demand by the publications of the day. 

"John Held, Jr. and the Jazz Age" will examine Held's 
artistic evolution and the process of American cultural 
change, through original drawings and paintings, sculp- 
ture, artifacts, and archival photographs. Discover why 
John Held, Jr. was considered the "toast of the town" 
during the jazz age! The Norman Rockwell Museum at 
Stockbridge, Route 183, Stockbridge MA 01262. 

For more information, call: 1-413-298-4100 

Toast of the Town: Norman Rockwell and the 
Artists of New Rochelle 

May 18, 2002 - October 27, 2002 

The Norman Rockwell Museum at Stockbridge 

"The New Rochelle Art Association invited me to a 
banquet. . . The invitation read, 'A seat has been reserved 
for you at the speaker's table.' I was to sit with all the great 
illustrators, with Joe Leyendecker, Coles Phillips, Claire 
Briggs. I had arrived!" — Norman Rockwell 

The art of Norman Rockwell evolved when he immersed 
himself in the vibrant New Rochelle artistic community, 
which offered both significant cultural connections and 
a sense of country life. Explore Rockwell's life and art 
during his New Rochelle years by placing his work within 
the context of such colleagues as J.C. and Frank Leyen- 
decker, Coles Phillips, Walter Beach Humphrey, Claire 
Briggs, Clyde Forsythe, Frederick Remington, Worth 
Brehem, Edward Penfield, and others. 

For more information, call: 1-413-298-4100 

Jack Davis — A Retrospective 

June 5, 2002 - July 3, 2002 

The Society of Illustrators Museum of American Illustration 

A retrospective of the 50-plus year career of Georgia 
native. Jack Davis. Long known for his many characters 
in MAD magazine, he was also a prolific contributor to 
EC Comics in the 1950s, illustrated over 35 covers for 
TIME magazine as well as numerous TV Guide covers, 
three children's books, movie posters and much more. 
This traveling exhibit was organized by the University of 
Georgia, Mr. Davis' alma mater. At the Society of Illustra- 
tors Museum of American Illustration, 128 East 63rd St., 
NewYork, NY 10021. 

For more information, call: 1-212-838-2560 

N.C. Wyeth Arrives in Wilmington 

September 7, 2002 - November 24, 2002 
The Brandywine River Museum 

When N.C. Wyeth commenced his studies under 
Howard Pyle in Wilmington, DE, a century ago, tech- 
nological advancements in printing had helped create a 
"Golden Age of Illustration." To celebrate the 1 00th anni- 
versary of Wyeth's arrival in Wilmington, this exhibition 
examines the business and technology of illustration at 
the turn of the last century and features the work of the 
most popular illustrators of that time. At the Brandywine 
River Museum, U.S. Route 1 and PA Route 100, Chadds 
Ford, PA 19317. 

For more information, call: 1-610-388-2700 

If you know of any Exhibitions & Events anywhere in the 
world, and you think we should know about them, please get 
in touch! University exhibitions, library shows, gallery open- 
ings. . . Help us make this section as informative and as com- 
prehensive as possible! • 

In The Next Issue... 




Sam Savitt - Painter, Teacher and Horseman by Leo Pando 
The Art of Albert Staehle by Dr. Donald Stoltz 
The Art of Al Parker by Dan Zimmer 
... and much, much more! 

Illustration 47 


Classic Coca-Cola Advertising Art Found 

Hayden Hayden oil painting is discovered in a IVIissouri restaurant 

I was doing research for the article on Haddon Sundblom in Illustration #1 when 1 
made one of those discoveries that we all live for, and which took my breath away. . . 

I was transcribing a tape of an interview conducted by Bill Vann almost 12 years 
ago when I stumbled across my fmd. Bill was talking with a former executive of 
D'Arcy Advertising in St. Louis, when suddenly the man on the tape related this 
story. It seems that one day he had gone out to eat at a restaurant in a small town just 
outside of St. Louis, and "I'll be damned," he said, "If there wasn't an original Haddon 
Sundblom picture hanging right there on the wall!" 

I practically fell out of my chair. Needless to say, I headed straight for the place. 

I found that the restaurant was still there, and yes indeed, on the wall was a large 
oil painting. I didn't recognize the illustration at first, but I soon realized that this 
image was recently used as the cover for the Collector's Press book "Coca-Cola Girls." 
Only it had been significantly overpainted and now was in pretty bad shape. 

The current owner, William Backy, had purchased the work in the mid-1970s from 
a local artist named Henry Heier. Heier was a former staff artist from D'Arcy, then 

"Coca-Cola Girl" by Hayden Hayden. 1933. Oil on canvas. 40 x 70 inches. 

in his 80s. Backy was looking for a traditional nude to hang behind his bar, and after 
showing him this painting, Heier offered to make some changes to convert it from an 
advertising picture into a more generic "bar nude." A look at the photos above reveals 
the overpainting which covers the original art today. (See the website for a "before and 
after" animation.) The painting never made it behind the bar (it was too big to fit) but 
instead decorates the inside of the restaurant. 

Heier apparently had a whole barn full of paintings, but no one has any idea what 
became of them. He died in the late 1970s and left no heirs. I hate to think what other 
pictures were in that barn! 

The painting, I soon realized, was not by Haddon Sundblom but was painted by 
Hayden Hayden in about 1933. 1 found one reproduction of the complete image 
(above right) which shows Hayden's signature along the bottom of the painting. The 
canvas as it exists today has been cropped, and this portion is no longer visible. The 
painting is in poor condition, but with the proper restoration I'm sure she could be 
returned to her former glory. • — Dan Zimmer 

48 Illustration